1. Shiva Sutras Shaiva Devotional Songs Study Shiva Sutras of Utapalladeva Constantina Rhodes Bailly Satguru

Constantina Rhodes Bailly Shaiva Devotional Songs of Kashmir

A Translation and Study of Utpaladeva's Shivastotravali

"Bhakti is always treated as a different approach from the 'yogic' one. This author's approach of relating the path of bhakti to the upayas of the system is a very original angle which is absolutely accurate. It shows the soul of the practices, that is, the feeling and emotional intensity with which they are done. Here we have the rejoicing, the cajoling, the longing of a soul in love with God and in love with his creation. For the devotee, the created is a reflection of the Creator. This book is an authen- tic delight. Together with the merits of the research that has gone into it, other interesting aspects Appendix A, which gives useful overview of the sys- tem, and the ample bibliography". - Swami Gitananda SYDA Foundation

SRI SATGURU PUBLICATIONS A Division of INDIAN BOOKS CENTRE 40/5; Shakti Nagar, Delhi-1 10007 INDIA

Utpaladeva was considered a siddha, a "perfected being, "one of the masters of the tantric tradition in Kashmir, and he is best known for his philosophical treatises. The Shivastrotravali reflects Utpaladeva's philosophy, known as the Pratyabhijna school. And yet it is unique among the author's work in its not being a straightfor- ward philosophical treatise but instead, as Dr. Bailly points out in her introduction, more of a spiritual diary of one who is ac- tually treading the path of Shiva. The path that Utpaladeva has chosen does not re- quire leaving one's home and heading for mountain cave; instead it calls for changing one's view of the world, for leading a life of divine recognition while carrying on with ordinary life. In clearly written, lucid prose Dr. Bailly illuminates the many faces of Utpaladeva's quest. At the core of his spiritual journey is the enigmatic relationship between devo- tion and grace: how much does spiritual at- tainment depend upon the individual's efforts, and how much is a divine gift? And how are these to be realized while living in the midst of society, maintaining worldly obligations and lifestyle? For over a thousand years the Shaiva community of Kashmir has used in its wor- ship the hymns of Utpaladeva's Shivas- totravali. Here for the first time these hymns are presented in translation as English verse along with the Sanskrit, a clear and lively introduction, two appen- dices on special aspects of Kashmir Shaivism, and additional notes. Constantina Rhodes Bailly teaches in the Philosophy and Religion Department of Mercy College, New York.

ISBN 81-7030-242-0

2007*

The SUNY Series in the Shaiva Traditions of Kashmir

Harvey P. Alper, Editor

Editorial Board

Edward Dimock

Wilhem Halbfass

Gerald J. Larson

Wendy D. O'Flaherty

Andre Padoux

Navjivan Rastogi

Ludo Rocher

Alexis Sanderson

Sri Garib Dass Oriental Series No. 109

Shaiva Devotional Songs

of Kashmir

A TRANSLATION AND

STUDY OF UTPALADEVA'S

Shivastotravali

Constantina Rhodes Bailly

SRI SATGURU PUBLICATIONS DELHI-INDIA

Published by : SRI SATGURU PUBLICATIONS Indological and Oriental Publishers 40/5, Shakti Nagar, Delhi - 110007, INDIA

c 1987. State University of New York All rights Reserved

The Publication of this Book in India is made by permission of State University of New York Press.

FIRST INDIAN EDITION : DELHI - 1990

ISBN - 81-7030-242-0

No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews.

Library of Congress Cataloging-in-Publication Data

Utpala., fi. 900-950-

Shaivite devotional songs of Kashmir

(SUNY. Series in Kashmir Shaivism) Translation of Sivastotravali

Bibliography :

1. Siva (Hindu Deity) - Prayer-Books and devotions - Sanskrit. 2. Siva (Hindu Deity) - Prayer-Books and devotions - English. 3. Kashmir Saivism - Prayer-Books and devotions - Sanskrit. 4. Kashmir Saivism - Prayer-Books and devotions - English I. Bailly, Constantina Rhodes. II. Title. III. Series: Suny Series in Kashmir Saivism.

BL 1218.2U8713 1987 294,5'43 87-6488

PRINTED IN INDIA

For my parents

Contents

Acknowledgements : . ix

Introduction 1 The Śivastotrāvali The First Song: The Pleasure of Devotion 29 The Second Song: Contemplation of the All-Soul 34 The Third Song: The Gift of Affection 39 The Fourth Song: Potent Nectar 43 The Fifth Song: The Command of Powers 48 The Sixth Song: Tremblings along the Journey 52 The Seventh Song: Victory over Separation 54 The Eighth Song: Unearthly Strength 56 The Ninth Song: The Triumph of Freedom 59 The Tenth Song: Breaking the Continuity 62 The Eleventh Song: Bound to the World by Desire 66 The Twelfth Song: Particulars of the Arcane Lore 70 The Thirteenth Song: In Summary ... 76 The Fourteenth Song: Song of Glorification 80 The Fifteenth Song: About Devotion 84 The Sixteenth Song: Breaking out of the Fetters 88 The Seventeenth Song: A High Regard for Divine Amusements 93 The Eighteenth Song: Becoming Clear 100 The Nineteenth Song: The Meaning Revealed 104 The Twentieth Song: The Meaning Savored 107

Contents

Sanskrit Text of the Sivastotrāvalī Appendix A 169 Appendix B 173 Notes 177 Bibliography 179 Index 195

Acknowledgements

During the process of writing this book, many people have advised and encouraged me, almost without exception reinforcing the notion that the Sivastotrāvali deserves to be brought to light in the English- speaking world. I am deeply indebted to Ram Karan Sharma, eminent scholar and devout Śaiva, who spent many hours reviewing my translations and imparting exceptional insights based not only on his exceptional fluency in Sanskrit but through his true spirit of devotion. Both in Delhi and, after a long hiatus, in New York, the Sharmas welcomed me into their home with much warmth. I am grateful to Harvey Alper for inspiring the final vision of this book. He has offered not only sound logistic advice but an abundance of enthusiasm and kind encouragement. During the Fifth World Sanskrit Conference in Banaras (1981) both Navjivan Rastogi and B. N. Pandit offered practical suggestions on the content of the introductory sections and on the English form of the verse translations. I thank Lilian Silburn who, though quite ill, took the time to write me letters of valuable advice and direction. André Padoux has opened my mind to the vast possibilities in the study of this literature. I thank him for enlivening conversations in Banaras, in Philadelphia, and, most importantly, in Paris, where he gave me the inspiration to take the dissertation off the shelf and proceed with turning it into a book. For financial support I am grateful to the Department of Middle East Languages and Cultures of Columbia University, New York, for granting me the Jackson Fellowship for Sanskrit and Iranian Studies during my years in India. I am also indebted to the American Institute of Indian Studies.

ix

Acknowledgements

For allowing me access to the Sanskrit manuscripts I am grateful to Dr. B. K. Shastri of the Sri Ranbir Sanskrit Research Library of the Raghunath Mandir, Jammu, who, along with his assistants, specially opened the library during a holiday and spent many hours with me reviewing their collection of. Sivastotrāvali manuscripts. In Jammu I am also indebted for their suggestions to Kaushalya Valli and Ved Kumari Ghai of the Philosophy Department of Jammu University. At the Banaras Hindu University Library I am grateful to Hari Deo Sharma. At the manuscript library of the University of Kashmir in Srinagar I am thankful to B. K. Deambi for going through the entire collection of Sivastotrāvali manuscripts with me. Special heartfelt thanks are due to Pandit Dina Nath Shastri Yach of the University of Kashmir, who not only spent many hours reviewing the manuscripts with me and helped to photograph them, but who chanted large sections of the Sivastotrāvali for me to record; he also brought me to receive the darśana of Swami Laksman Joo. In New York, I owe much to Alex Wayman, who first opened my eyes to Sanskrit devotional hymns and who has provided years of encouragement and support. To Barbara Stoler Miller I owe my love of Sanskrit poetry; her instincts and suggestions about the form that this book might take have proven valuable. I am grateful to Kathleen R. F. Burrill, who has been a constant source of support and good faith, and a model for emulation. Most of all I am indebted to my husband, Gene, who has showered me with endless support, invaluable spiritual insight, and unwavering faith throughout the many manifestations of this project. I thank Ophelia for her undaunted patience, and I thank Marie-Alexandra, through whom I have come to experience the intoxicating depths of vātsalyarasa.

Constantina Rhodes Bailly

Woodridge, New York

X

Introduction

THE SETTING

Utpaladeva (ca. A.D.900-950), well known as a founder of the Pratyabhijna school of philosophy' in Kashmir, is best remembered for his philosophical treatises, most notably the Iśvarapratyabhijñākārikā, which, with its commentary, Vimarsini, of Abhinavagupta, constitutes a major contribution to Indian philosophy in general. But Utpaladeva was, foremost, a highly realized devotee of Siva, and is considered in Kashmiri tradition to have been a siddha ("perfected being"). The recitation of the stotras, or songs, of the Sivastotrāvali features in the worship of the Saiva community of Kashmir, even to this day. Since the time of their composition they have been chanted in the same style, and it has only been in the last fifty years that a more modern, though still beautiful, style has been adopted. The Śivastotrāvalī survives with the commentary of Kşemarāja, who notes that these songs were not composed by Utpaladeva as a single, structured work, but rather were written sporadically, during particular moods of devotional joy, anguish, praise, or of the mere reflection of his own philosophical ideas. After Utpala's death, his disciples Śrīrāma and Adityarāja are said to have been responsible for collecting the songs, which another disciple, Viśvāvartta, then divided into twenty chapters and provided with individual titles. It is in the stotras of the Sivastotrāvali that the material of Utpaladeva's treatises is experienced firsthand by their author. This is not, of course, to say that a philosopher does not "experience" his material on some-usually intellectual-level. But it is in these songs that we are

1

Introduction

provided as though through a spiritual diary, the ups and downs of one who not only speculates about the path toward realization, but has tread it himself. Following him through the journey, indeed, from the very beginning, we have the sense that we are accompanying Utpala on the wanderings on a marvelous pilgrimage. The pilgrimage, of course, is through his own interior landscape, testimony to the cosmic truth that he repeatedly strives to retain as a constant realization: that his own body is united with the body of Siva, that is, the whole world. In his journeys we experience the wilderness that is both frightening and awe-inspiring, that makes the poet wonder desperately whether his is just a voice crying out in the vast darkness. The geography of Utpaladeva's interior pilgrimage, not surprisingly, resembles the land of Kashmir, with mountains and forests, and quite prominently, lakes with water lotuses. Along the dusty journey the wanderer seeks deep peace of mind, likened to the cool depths of a mountain lake or to a hidden. mountain recess. We may regard the opening verse of the Sivastotrāvali as a benediction at the outset of the journey. A standardized obeisance to the deity or a supplication for protection might be expected before the actual subject of the piece begins. Observe, however, the object of homage in this first verse:

We praise the one who is filled with devotion, Who meditates not nor recites by the rule, And yet without any effort at all Attains the splendor of Siva. (1.1)

It is as though the opening is the very saktipata of the piece: an initial, shocking understanding is put to us, that is, to honor the devotee foremost, for the true devotee has identified completely with Siva. This is a state that has come through the grace of Siva and through the devotion of the individual, and therefore, in the highest realization it is indeed a eulogy of Siva as well as the path itself, the supreme path, according to Utpaladeva, of devotion. By setting the focus as such from the opening verse, Utpala reflects that already has he acquired insight into the reality of Siva-consciousness. But an inkling of that vision is just beginning, and the songs of the entire Śivastotrāvalī are testimony to the joyful as well as painful realities of

2

Introduction

spiritual progression in an individual's life. Similarly is the pilgrim compelled by his awakened spirituality to set forth and find more.

Background of the Sanskrit Text

This book began as a doctoral dissertation2 that presented a translation of a selection of the songs and constituted an in-depth inquiry into the status of the manuscripts and the preservation of the textual tradition of the Śivastotrāvalī. Between 1981 and 1983 I closely examined seven manuscripts, two in devanägarī and the other five in śāradā, the script traditionally used in Kashmir for writing in Sanskrit. I collected the manuscripts from as wide a geographical range as possible, although, understandably, the greatest concentration of these manuscripts was to be found in Kashmir itself. (The manuscript library in the University of Kashmir, Srinagar, contains a total of thirty-four.) After careful examination I concluded that there were no major variants in any of the manuscripts that I studied, and that the textual tradition of the Śivastotrāvalī remained intact, without varying recensions. The Sanskrit text of the Sivastotrāvali was first published in 1902 in the Chowkhamba Sanskrit Series, and was reissued in 1964, edited by the Swami Laksman Joo of Srinagar. I did encounter some differences among the available texts-the seven manuscripts plus the 1964 published edition, which was based upon "five or six" unidentified manuscripts-but these were for the most part simply errors in samdhi or the use of synonymous terms that fit into the meter exactly, and that for the most part did not detract from the message of the verse.4 For this book, therefore, I have followed the text as printed by the Chowkhamba Sanskrit Series.

THE PILGRIM SETS FORTH

Selecting a Path

The system put forth by Utpaladeva is essentially a religion of the householder. Thus can the spiritual quest be seen to be modeled on the activities of the pilgrim-a householder who has taken a spiritual leave of

2

Introduction

absence from worldly functions-rather than an ascetic, who has severed with them altogether. As a heuristic device to categorize the range of experience expressed in these songs, it is useful to look at the broad categories representative of the upāyas ("ways, means, expedients, paths") of spiritual progress. There are three actual upāyas, plus a fourth, transcendent one; they can be thought of as a psychological ranking of an individual's present spiritual inclinations and his potentials. Kashmir Saivism is often praised5 for this psychological perceptiveness of the realities of just how each person can go about his spiritual progress and meet with neither too much challenge nor too much boredom. The theory of the upyas carries an inherent acknowledgement that the community of those following the path is comprised of a wide array of individuals; one must not wait an unknown number of lifetimes to be born into a high caste or as a male in order to worship Siva or even dream of attaining his immediate realization; rather, the way is open not only to the high castes but also to low and even outcastes; not only to men but to women and indeed to children; not only to the renunciants but to the householder:

Hundreds indeed are those, O Lord, Who through your inspiration While living the lives of average people Perceive just through these very eyes Your form ever before them. (12.21)

Just the mere thought-even a negative one-is enough to set the process into motion:

Even for him whose thought of worshiping you Arises only hypocritically, Inevitably he acquires an appropriate Closeness to you. (12.10)

That the way is open to all creatures is another way of acknowledging the conviction that with the body of Siva as the whole universe and all in it, what or who indeed is not the same as the worshiper himself? What, then, are the different upāyas? The first, ānava upāya ("the

Introdeuction

path of minuteness") is for those individuals most subject to āna tva, or minuteness, and whose consciousness has therefore become highly lirimited or bound. In this upaya much emphasis is placed on personal eeffort, focused particularly on the realm of the senses. Thus ritual (i.e., the sights and smells of flowers, bells, incense, abstract and concrete images, st tatues, etc.), repetition of mantras (for control of the mind), and prānāyāmma.(for control of the breath and the subtle channels called nādis) are presccribed. The second, śākta upāya ("the way of power"), or jñāna upāyan ("the way of knowledge") places a greater emphasis on mental awarenesss. The practitioner's sense of duality begins to fade, but he is still fixed with a dualist vision; for this reason this way is also called bhedābheda upāya ("the way of difference and nondifference"). The third upāya is śāmbhava upāya ("the way of Sambhu or Siv-a"). It entails a highly evolved consciousness whereby the will (icchā) predominates; it is thus aiso called icchā upāya ("the way of the willll"). In this upaya the practitioner can induce at will and retain for long perriods a fixed awareness of the universe as pure consciousness. The fourth and highest upaya, like the fourth constituent ofother Indian mystical progressions, is not a true upāya as such but represernts the transcendence of the upāyas themselves. Thus it is called an upāya ("wayless, without a way"), or ānanda upāya ("the way of bliss;"). It requires almost no spiritual discipline, for the practitioner has entereed into a state of absolute realization, where, as we saw in the opening verses of the Śivastotrāvali, the practitioner is beyond the need for meditation or the counting of prayer beads. Thus it is also known as pratyabhijñā upāya ("the way of recognition"). Using the categories of the upāyas facilitates encompassing the broad range of experiences of one on the path. More than anything, the vaepāyas are categories of psychological tendency, each of which is exp ressed throughout the Sivastotravali. Unlike a philosophical treatise, it dones not guide the reader through a steady progression, as, for exampIde, the Yogasūtra of Patañjali, which delineates the stages of yoga from "lcowest" to "highest." The Śivastoträvali, rather, takes the reader along the wrinding path of discovery. In several places Utpala calls this path of devootion a creeper, that is, a vine that haltingly makes its way but that bears marvelous fruits.

Introduction

In the Realm of the Senses

Beginning with the realm of the senses, we can now take a longer look at the imagery of the sensual world as it appears in these songs. We have already considered the image of the pilgrim roaming about in the world of Śiva. Every place, indeed, becomes a sacred tirtha, a ford for crossing over into Siva's realm. Thus, in the midst of the ordinary world, one need only to shift perspective-a shift toward Siva-consciousness-to experience the difference; such a difference is possible for the true devotee:

Even the path of worldly living Becomes blissful for the devotees Who have obtained your blessing, O Lord, And who live inside your realm. (1.3)

Thus it is along the journey through the ordinary world, by means of the faculties of sense, that the devotee searches for a vision of Siva- consciousness. But like the journeyer through the wilderness fearful of dacoits, Utpala recognizes the threat of ever-lurking "sense-thieves" along the way:

O Celestial One, grant that I may overcome The enemies along your path, The sense-thieves Who conceal the highest reality. (19.11)

Indeed, the sensual world consists of Citi, divine consciousness as the body of Sakti; the senses and the physical body that confine one to bondage also constitute the vehicle for liberation. Thus the well-known tantric adage: "The very poison that kills becomes the elixir of life when used by the wise."6 It is for this reason that not only are the senses acknowledged, but they are to be strengthened:

Nourished by the nectar Of pure devotion rippling within, Let my body become fit for your worship. (17.26)

It is for two reasons that the senses are to be strengthened: first, so that

Introduction

they be a strong vehicle for the descent of the power of Siva, which constitutes not just a feeling of emotional wellbeing, but a true force of the power of nature; śaktipāta is the descent of sakti, or power, of Siva in the form of the natural world. This śakti is akin to lightning, electricity, and ultimately the atomic energy that Siva "dances up" in the dissolution of the universe. Second, by becoming a vessel for divine power, the practitioner is also emulating nature itself, just a step away from the body of Siva, made of pure consciousness. Embodied by Sakti, nature is also then a vessel; Utpala refers to Devi as the "treasury of all powers" (14.13). But if the senses are to be strengthened, they are to be dedicated to Siva: giving up one's senses is but loosing them, and thus the devotee beseeches:

While incessantly drinking in through the senses The heady wine of your worship From the overflowing goblets of all objects, Let madness overtake me. (13.8)

The field of worship, then, is the individual himself. The turning inward to perform the sacrifice is similar to the concept in the Upanișads whereby the external elements of Vedic sacrifice-the animals, plants, and special locale-were redesignated to interior ones, in the human body and psyche. But whereas the Upanisads had the practice retreat from society, the Pratyabhijña Sstra brings it back: thus worship, though not of the world, flourishes in its very midst. Pratyabhijñā Šāstra speaks of the five kañcukas, or coverings of māyā, that is, the limitations on the individual consciousness. They are a false sense in regard to rāga (enjoyment), kāla (time or mortality), niyati (pervasiveness of space), vidyā (knowledge), and kalā (authorship). Rāga relates directly to man as a paśu, a "beast" tethered by his deepest uncontrollable desires, attachments, and illusions. One must seek to overcome the limitation of räga by redirecting it and putting it to one's use toward furthering an understanding of his true nature. Gaining control over the false sense of enjoyment in this way, the devotee ultimately learns to live fully within the world of samsara while remaining unattached to it. The devotee understands that the task of redirecting räga and the other limitations is beyond his own means; he recognizes that the kañcukas are manifestations of Siva and that Siva has ultimate mastery over them.

Introduction

Thus he offers them in sacrifice to the Lord:

Accept false enjoyment and the other limitations That I offer unto you, O Lord. Having transformed them into immortal nectar, Enjoy them together with the devotees. (5.13)

By giving up worldly enjoyment one does not give up pleasures; he discovers instead a different source of delight, the joy that emanates from becoming centered in the identification of one's true self. The farther one comes from the bondage of his false viewpoint, the deeper becomes his enjoyment of unification with the Lord. Räga has a wide range of related interpretations; it indicates color, redness, inflammation, and thus passion, enjoyment, attachment, delight, and love. In certain respects, rāga as such is not a hindrance to liberation, but rather qualifies an instrument towards it. As joy, delight, love, and even attachment, rāga is a quality not to be extinguished but understood and nourished appropriately:

O Lord, enlighten my heart! Help me to discriminate between The base delight in false enjoyments And the superior delight in your lotus feet. (5.20)

As a color, räga is seen as a stain that, when offered to Siva, becomes lost in and purified by the white brilliance of the god's impeccable splendor. The Pratyabhijñā Sāstra recognizes five indriyas, or faculties of sense: rasa (taste), ghrāņa (smell), darśana (sight), śravana (hearing), and sparśa (touch). In the process of merging with the Lord, the devotee requests that in addition to rāga, the indriyas also maintain their worldly functions, but tnat they no longer create a hindrance to true recognition of the self. Rather, says Utpala:

Let the sense faculties, full of delight, Be attached to their respective objects. But may there not be, even for an instant, Any loss of the joy Of your nonduality. (8.5)

Introduction

The joy of such a vision is not readily attained, however, when the senses remain stubbornly immersed in self-consciousness. Without the energy of Sakti to operate them, the faculties of sense cannot function. But the individual self persists, through its pride, in reverting to the attitude that the senses belong to, and operate for the benefit of, the limited self alone:

Enlivened by you, these senses quiver Though they be like lumps of clay. They dance, like feathery fluffs of cotton Raised up by the breeze. If, O Lord, the senses were not Endowed with self-consciousness, Then who would forsake the realization That the world is one with you? (10.18,19)

Each of the senses receives separate attention in the Śivastotrāvali, but the sense of taste (rasa) has special significance, particularly as regards what Utpala points out as rasa in varying situations. Rasa is one of those Sanskrit words that almost defies translation by virtue of its rich and varied multiplicity of equivalent words in English. In one respect, rasa means sentiment; what is called the "rasa of devotion" in these poems denotes a sentiment felt by the devotee toward the object of devotion. Rasa also means taste, flavor, or savor, and thus the "rasa of devotion" in this respect indicates a pleasurable sensory experience-indeed, a taste- that is an outcome of devotion. Thus as sentiment, rasa is that which the devotee "puts into" his act of worship; as flavor, it is that which he receives, or "gets out" of it. Thirdly, rasa is syrup, sap, pith, resin, or nectar, and Utpala makes frequent use of the image of rasa as the extract of a plant. When in a state of mystic union, the aspirant is said to taste a sweet and intoxicating nectar, sometimes called amrta and at other times called rasa. Finally, Pratyabhijñā has a special connotation for the term: the essential "stuff" of Paramaśiva from which Śiva and Śakti become manifest is known as śivarasa. The connotations of sentiment, savor, juice, pith, and the core essence of Siva all are called to mind with the term as Utpala uses it-as he does often-in the Stotrāvali. In some instances I have chosen to translate rasa as somewhere between sentiment (as effusive emotion), pith (as extract),

9

Introduction

and nectar (as sweet or intoxicating) with the English word spirit. Just as he learns to redirect and thus reintegrate his sensory faculties, the aspirant learns that he must perceive the forms within the world of samsãra as manifestations of the body of Siva. That the universe is inlaid with the form of Siva is further expressed with the concept of that form as a city; the body of Siva consists of a pattern, a map with the paths and subtle currents (nadis, meaning the veins, arteries, and pulses of the physical and subtle bodies, into which we may read the geographical connection with rivers) along which the devotee travels in meditation. This is a type of mandala, or mystic diagram representing both the universe without and the universe that exists within the individual. Utpaladeva indicates that by treading the path within the city of Siva, the devotee can change in a positive way his movements along the path through the world of samsāra. Thus the devotee sometimes expresses his wish for union as dwelling inside of the Lord, and at other times, he depicts this specifically as dwelling inside the city of Siva. While in the state of perceiving the difference between subject and object, the devotee remains outside of the city of Siva; the city is a pur, that is, a town or fortress enclosed by a wall in every direction, and accessible only by a huge, reinforced gate. As such the pur of Siva is also the body of the individual purusa. Within, it contains eight cakras, and as entrance- ways, it has nine orifices, or "city gates."7 Even the aspirant who approaches with utmost devotion encounters difficulty in gaining access to the innermost heart of that city:

This terrible world is about to be ended. The deep stain of my mind has melted away. Still the gates of your city Are bolted shut And do not unlatch even slightly. (4.15)

Even though the devotee may overcome the "stains" of the memory of the false attachment to worldly objects, the gates to the center of the city do not easily open. But since the city is located within the individual himself, Utpaladeva is saying here that the aspirant's devotion is not yet strong enough to break the latches, for if the gates circumscribe Siva's city, they define the boundaries of the human heart as well. The "unlatching,"then, is also the piercing of the heart cakra (anāhatacakra), and either action

10

Introduction

requires both the will of Siva and the incentive of the individual. Thus the devotee asks the Lord not only to bestow grace, but to help deepen his own devotion:

When shall my mind Indifferent to all else through love's intensity Tear open the great door latch With a loud bang And finally arrive in your presence, O Lord? (9.3)

A related image is that of the royal chamber, and with this Utpaladeva shows that even the supreme Vedic gods are denied access to the inner heart of Siva. Here, Vișņu, Indra, and Brahmā cannot be admitted because they are not devotees; this reflects also Utpala's view of the inadequacy of Vedic worship in which ritual overrides devotion:

Forever may I sing my praises Loudly to you, Located in that place where Hari, Haryaśva, and Viriñca are waiting outside. (7.7)

The only deity to dwell there is Devi, one of the many personifications of Sakti. Sakti is the primal energy of the universe, and Siva is the universal consciousness; as such they are two complementary aspects of the universal Paramaśiva, seemingly separate but constantly united. When personified as deities, Siva and Sakti are recognized as being eternally united through mutual devotion; they dwell always in the same place:

May I live in that sanctuary, O Lord, Where, taking many forms, You reside with Devi From the palace up to the city gates. (5.7)

Just as the latched gates of the city of Siva are a tantric image representing the as yet unliberated state of the aspirant, so also is the image of the knot with which the soul has been bound. Utpaladeva speaks of the knot that fastens the devotee into bondage; the knot keeps the devotee from realizing his true nature, and as such is a form of illusion. But the

11

Introduction

efficacy of that illusion is all the more powerful because it, too, is an aspect of Siva. Utpala reiterates that liberation must be sought by the very force that causes bondage:

Alas, O Lord, this knot of the soul Prevents your realization. But fashioned and concealed by you, That knot is strong indeed -- So strong that, disregarding you, It slackens not a bit. (4.24)

Thus the devotee understands, intellectually, the source of his feeling of separation from the Lord. He understands also that to transform his false viewpoint of self-identification, he must perceive enjoyment, the faculties of sense, the individual body, and indeed the form of the whole world as manifestations of Siva and thus of himself. He thus petitions:

In speech, in thought, In the perceptions of the mind, And in the gestures of the body, May the sentiment of devotion be my companion At all times, in all places. (5.22)

The experience of merging with Siva is often described in these songs as sweetened with amrta, or celestial nectar, and the path of the devotee is said repeatedly to be sweetened with the "nectar of devotion." This nectar is also an intoxicating wine, as, for example:

With my eyes closed At the touch of your lotus feet, May I rejoice, Reeling with drunkenness From the wine of your devotion. (5.5)

By offering up the restrictive, worldly-bound senses, the devotee takes leave of them: this is the joy of delightful worship. And that intoxication, according to Utpala, will never be experienced by one treading on any other path, even the revered path of jñana (intellectual knowledge). On the contrary:

12

Introduction

The highest state of intellectual knowledge Has none of the taste of the nectar Of your devotion. To me, O Lord, it is like sour wine. (1.11)

In some of the songs the sense of sight is interpreted literally. Yearning for a vision, which in a higher sense indicates spiritual realization, also takes the form of an ecstatic vision, as a visitation of the beloved deity:

Ardently I desire to behold Your ever-blossoming lotus face. O Lord, may you appear to me, Howsoever faintly, Face to face. (4.16)

The Śivastotrāvali is filled with expressions of how the devotee seeks to redirect these senses as well as those of touch, smell, and hearing toward the wholistic experience of Siva-consciousness.

MANY PATHS, ONE PATH

At a certain point the aspirant begins to take hold more securely in his practice. These positive gains are spoken of in terms of undoing, of dissolution: he begins to lose his sense of duality, he unties the knots that bind him, he breaks open the latch to the gate of the city that is Siva. These things begin to happen, that is, his awareness of his true identity begins to become more apparent, by means of his perseverance to the task, which, in this system, comes down to the faith and devotion (bhakti) that he cultivates in his heart. This stage, which we may equate with the level of śākta upāya ("the way of power"), or jñāna upāya ("the way of knowledge"), entails the development of both power and knowledge: śakti is power, that is, the constrictive power of the natural world, as well as the power to overcome that world. Knowledge involves a higher intellectual understanding of the spiritual endeavor. The powers developed by the aspirant are called siddhis

13

Introduction

("perfections"). The siddhis are powers to manipulate and transcend nature and the natural world; they are, then, supernatural powers. They consist of śakti (the manifestation of nature, the first evolute, personified as Sakti); thus to acquire them means to identify with Sakti herself, and consequently with Siva-consciousness. The natural world, or Śakti, is also called māyā (personified as Māyā), from which derives the English word magic. The siddhis are "magical" powers in both ways in which magic is understood: They are sleight of hand, the art of illusion, and they are, as perhaps the most distinctive feature of primal religions, manipulation of the elements of nature. The acquisition and accumulation of these powers is recognized as a byproduct of many spiritual paths. As in Patañjali's Yogasūtra, for example, Pratyabhijñā stresses the necessity for the ethical cultivation of these powers. Unduè attachment to an accumulation of siddhis detracts from the ultimate goal of the siddhis, liberation itself. And misguided · attachments to the siddhis, that is, using them for malicious purposes, degenerates into black magic. Referred to collectively, they are known as astasiddhi, or the "eight perfections"; Utpaladeva refers to them as animadi, or "anima and the other [powers]." They are, in their traditional order, the faculty or ability to acquire (1) animā (infinitely small size); (2) mahimā (infinitely large size); (3) laghimā (infinitely light weight); (4) garimā (infinite heaviness); (5) präpti (transporting oneself by mere thought); (6) prākāmya (having everything in plenty); (7) isitva (overlordship, domination); and (8) vaśitva (ability to subjugate anyone or anything). The siddhis exist so that the aspirant can strengthen himself in his spiritual pursuit: that pursuit, then, is also an adventure into the higher realms of the natural world; awareness becomes strengthened and nourished as one crosses into this realm that exists at the fringes of completely worldly consciousness at one extreme and at the other, the absolute consciousness of Siva. This is a crossing place, a ford, indeed, the very definition of a twilight zone. Here one goes back and forth between a consciousness fixed in duality and nonduality; thus it is called bhedābheda.

Grace and Devotion

It is said that the heart's spiritual yearnings are brought about either by an innate desire or by some shocking experience or realization. In several

14

Introduction

places Utpaladeva attributes his treading the spiritual path to Siva- sometimes rejoicing in the fact, and sometimes lamenting it. The process of how the siddhis come about serves as a paradigm for the very process of spiritual evolution itself. In introducing the concept, I use the term "come about" in a purposeful avoidance, for the moment, of either the phrase "how the aspirant develops his powers" or "how the powers are acquired." For inherent in such language would have been the implied agent of action, and this points to the very crux of the question, not only as regards the evolution of the siddhis, but of liberation itself. How does one set foot on the path? How does one reach its highest goal? Here we encounter the enigma that lies at the core of the Sivastotravali-the ambiguous relationship between anugraha ("grace") and bhakti ("devotion"). If we take a second look at that "dissolution" terminology of the spiritually progressing aspirant, we will see that in some places he is said to lose his sense of duality, in others, that the duality is removed; here he unties the knots, elsewhere they are untied; sometimes he must break open the latch, at others, the door swings open for him. On an even more subtle level, Utpaladeva expresses this brilliantly with his use of the term tvadbhakti, perhaps, along with tvadbhaktirasa, the most frequently occurring phrase in the Śivastotrāvali. The simplest way to render tvadbhakti into English is, literally, "your devotion," a phrase that carries the original ambiguity: it denotes both "x's devotion to you" and "your devotion to x." In just one of many examples, Utpala implores:

Just as Devī, Your most beloved, endless pool of bliss, Is inseparable from you, So may your devotion alone Be inseparable from me. (1.9)

For Utpaladeva the path of devotion is the most supreme and efficacious form of worship; thus he asks that his devotion to the Lord be a strong, integral part of himself. But equally apparent-by its intentional ambiguity-is the prayer that the Lord, in the same way that he sheds devotion upon Devi, shed devotion on the devotee. Perhaps at the heart of this ambiguity lies the very concept of bhakti itself: literally a "share" or

15

Introduction

"allotment," its original meaning focuses on the apportionment itself, not on who does the apportioning. Utpala has another term for the other side of this process, however: anugraha, or grace. It is Utpala's conviction that one cannot even experience devotion without an initial stroke of grace. The two-devotion and grace-operate together as two aspects of the same entity, ultimately showing their common goal, or, from a different viewpoint, their common source. Through a dualistic consciousness, the two are separate processes: in one, the devotee (as subject) extends the feeling of devotion toward the Lord (as object); in the other, the Lord (as subject) bestows grace upon the devotee (as object). The dualistic process is a means to achieve the realization that the two are united in their common goal as well as in their common source, the body of Siva:

When will that small amount of grace Abiding with the Lord And that small amount of devotion That has come to me Unite to become like that unique form- The blissful body of Siva? (8.1)

Utpala is the first to admit, however, that the true relationship between grace and devotion remains a mystery:

You are pleased, O Lord, with devotion, And devotion arises at your will. You alone understand How these are connected. (16.21)

In the state of absolute realization one perceives the process of devotion and grace as two aspects of one divine process. The sense of duality that is perceived is the same that is produced when the universe is manifested as the complementary aspects of Śiva and Sakti, typified in turn by the complementary qualities of the manifest universe, prakāśa and vimarša: Prakāśa is illumination, the placid, transcendent Siva. Vimarśa is the dynamic, immanent Sakti; they may be considered, in Arabinda Basu's words, the "background" and "foreground," respectively.8 Beyond the personifications of Siva and Sakti lie the cosmological images of

16

Introduction

prakāśa and vimarša. Harvey P. Alper points out just two of the images evoked by prakāśa:

. .. prakāśa as spacial effervescence, and prakāśa as the sea at the heart of all things .... The theology of prakāśa hints at the dissolution of ordinary ego consciousness, at immersion in the cave, the bottomless center of all phenomena; it seems to speak of overflowing, being brimful, of being afloat in the depths of the sea.9

Before going on to observe the further importance of prakāśa and vimarśa in light of the Sivastotrāvalī, it is necessary here to mention the phenomenon in Pratyabhijñā known as spanda. Spanda is the initial vibration of the universe, its very heartbeat. In the Sivadrsti Somānanda explains spanda:

This tension is perceptible in the locus of the heart when one remembers suddenly a thing that must be done at the moment, when one receives good news, when one experiences fear unexpectedly, when he sees a dear one whom he had not seen for a long time, when one pronounces emission, when one reads quickly, when one runs fast, etc. On each of these occasions there is a mingling of all the powers (sarvaśakti vilolatā).10

This "mingling of all the powers" is a characteristic of practice on the path of śākta upāya; thus the aspirant begins to get to the very essence of the cosmic vibration, that is, consciousness itself. The key to the whole process-the initial vibration (spanda) that drums up, as it were, the two opposing entities of prakāśa and vimarśa, and, in turn, how these universal principles relate on the individual level as grace and devotion-is presented in the Anubhāva Sūtra:

Siva's innate power Spanda is wholly responsible for the entire creation of the Universe and the same power reacting in the individual leading to final liberation is called Bhakti (devotion). The same power, Spanda, in the reverse trend is liberation. In reality there is no difference between Sakti and Bhakti-the operating forces of Spanda. [Italics mine]1!

Thus grace may be seen as a manifestation of prakāśa, emanating from the

17

Introduction

world as Siva, transcendent, constant, and eternal. Devotion, in turn, is vimarśa; it is the sense of "I" or the individual expression through infinite variations. Devotion is dynamic, ever-seeking, ever-changing, while at the same time complemented by the steady illumination that is grace. The philosophy of Pratyabhijña considers anugraha as the only one of the five eternal processes of Siva that is absolutely necessary for the liberation of the individual self. Thus in the Sivastotrāvali Utpaladeva focuses on grace and on its complementary aspect, manifest in the individual as devotion. At times he beseeches the Lord for grace; at others, where we might expect to find him asking for grace, the prayer instead is for a strengthening of devotion:

When shall my yearning for devotion- The highest state of knowledge and The highest state of yoga- Become fulfilled, O Lord? (9.9)

"Tremblings along the Journey"

We have explored, then, what the Pratyabhijña philosophers would tell us about grace and devotion, prakāśa and vimarša, the personifications of Siva and Sakti, and the divine, eternal vibration that is spanda. How does all of this fit into the experiences of our spiritual seeker continuing his way on his pilgrimage? At this point he has developed enough of an awareness to have gotten an inkling into his true identity, but has not acquired the spiritual acumen to increase these glimpses at will. These albeit brief experiences of his true nature provide such a contrast to his mundane vision that the acknowledgement of the difference between the states causes great spiritual anguish. He understands that although he seeks liberation from the state of dualistic perception, he constantly loses his way:

There is no other happiness here in this world Than to be free of the thought That I am different from you. What other happiness is there? How is it, then, that still this devotee of yours Treads the wrong path? (4.17)

18

Introduction

The sixth song, entitled "Tremblings along the Journey," laments repeatedly the anguish caused by the unsteadiness of this vision; the splendor of the vision makes it all the more difficult to live without:

From the center of the world Let there be visible to me Your magnificent jewel That dispels the depths of darkness With its radiant luster.

On what site do you not dwell? What exists that does not exist in your body? I am wearied! Therefore let me reach you everywhere, Without difficulty. (6.8, 9)

A devotee anxiously awaiting recognition is the image depicted in the entire ninth song; each verse contains the plaintive cry, "When shall ...? " It is with such plaintiveness that the songs take on the tone of an intimate relationship, with the Lord as the elusive lover, a motif known to Tamil bhakti poetry and that would several centuries later sweep across northern India with the great bhakti poets of the middle ages. Here Utpaladeva addresses the Lord as the beloved, cornering him, finally, and disrobing him-of his veil of māyā:

When shall that moment come, O Lord, When all of a sudden I recognize you, The Fearless, Exalted, Whole, Without Cause, The One, indeed, to have veiled himself- And in so doing make you ashamed? (9.6)

In this stage, or realm, where all is flickering, wavering, where the Lord is sometimes depicted as an abstract object of beauty and at others personified as a lover, the mood of the devotee also ranges from high to low. The devotee has glimpsed ecstacy:

I roar! Oh, and I dance! My heart's desires are fulfilled Now that you, Lord,

10

Introduction

Infinitely splendid, Have come to me. (3.11)

He now begs to "firmly clasp" that realization:

When shall I become helplessly enraptured And reveal to everyone my joy, Having suddenly obtained and firmly clasped The treasure of your most precious feet? (9.10)

In jñāna upāya the individual has some, but not complete understanding:

When I touch the soles of your feet, It sometimes flashes in my mind That this whole world Has merged into a lake of nectar. Lord! Grant this to me always! (5.26)

But caught up in the world, hindered by the darkness of his own stubborn mind, Utpala laments that the realization is not yet constant, and repeatedly we encounter verses that reflect the depression and anguish of one who cannot sustain that beatific vision:

Endless is the cycle of birth and death. These slender limbs are consumed By diseases harsh and diverse. I have derived no real enjoyment From pleasures of the senses. What happiness encountered was not long lasting. Thus, my existence has become useless. Grant me, O Lord, Those sublime and everlasting treasures So that I may become your devotee With my head illumined by touching the feet Of the One adorned with the moon. (15.19)

In this wavering stage the devotee is thus fraught with contradictions. In some verses he begs for anima and the other powers; in others, he boasts that he has no use for them. Similarly, in some places he extols the benefits

Introduction

of meditation; in others, that, too, has no use. In several instances he separates himself, as a devotee, from the (lowlier) ordinary people of the world; other verses have him begging to lead a normal life. And although Utpaladeva ever extols the ease with which the Lord is attained through devotion (as opposed to other paths), still, time and again he laments not being able to sustain that vision.

THE HIGHEST PATH AND BEYOND

We come now to the path of śāmbhava upāya, the path of Siva, also called icchā upāya, or the way of the will, for here, the vision of absolute identity can be induced at will. Here the world is understood as the emanation of Siva and Sakti through play (kridā); thus everything is seen as vibrating with the delightful sensation of the cosmic pulse, spanda. Thus do the true devotees partake of this playfulness:

O Lord of the Universe! How lucky are your devotees, Worthy of being adored by you. For them, this turbulent ocean of the world Is like a great pleasure-lake For their amusement. (3.15)

In śāmbhava upāya worship becomes automatic, a sweet habit "unsullied" by the mere petitions that characterize the less advanced stages. Thus Utpala praises the highly attained devotee:

Whose consciousness is expanded With intense devotion Has a unique, praiseworthy style of worship Unsullied by entreaties, O Granter of Boons. (17.24)

Siva Immanent and Transcendent

Having transcended the need for the accoutrements of worship, and thus of any path at all, the devotee enjoys svātantrya, the true freedom of realization; this is the fourth way, anupāya, the supreme condition of

Introduction

having no path at all. Unencumbered by worldly attachments, and having surpassed the flickerings of an unsteady mind and perceptions, the perfected worshiper surpasses the realm of lamentations. Instead, his worship becomes spontaneous praise and glorification. The fourteenth song consists solely of glorifications, and it is no wonder that in Kashmir it is the best-loved song of the Sivastotrāvali. The imagery of these glorification stotras reflects that, by having transcended the vision of duality in the world, that is, by having identified with the absolute consciousness of Siva, one is free then to come full circle-to adore Siva in his many names and forms without the fear of becoming only attached to that singular image: for the realized devotee, Siva is at once both immanent and transcendent. Thus it is in these songs that we encounter some of the richest imagery in the Sivastotrāvali as regards iconography and the particulars of mythological episodes. For example:

May you be glorified, anointed with moonlight Reflected in the vast ocean of milk. May you be glorified, O Lord whose ornaments Are snakes dazzling with jewels Begotten at your touch. (14.6)

Also lauded here are the salvific powers of Śiva:

May you be glorified, The only lamp for worldly beings Blinded by the darkness of delusion. May you be glorified, O Supreme Person, Ever awake in the midst of a sleeping world. (14.18)

In the state of highest realization, the true path of Siva is no path at all, that is, one wanders about at will, no longer having to rely on the techniques of counting beads, of retaining the breath, or even, as we saw in the very first verse, of meditation. The special quality of devotion is that it is both the means and the end; it is the one means that is not discarded at the end of the journey, for it constitutes the journey as well as its highest goal. The process of treading the path itself entails the becoming of a devotee; thus is the well-known adage here reworded:

Introduction

"One should worship Siva by becoming Śiva" Is the old saying. But the devotees say, "One should worship Śiva by becoming a devotee." For they can recognize your essence as nondual, Even when it is in bodily form. (1.14)

The pilgrim roams about the whole world, with every act consecrated and every place a sacred spot, a ford between the world of limitation and the world of freedom. The true wanderer in spirit is beyond fear; he is not threatened by bonds to the senses or by the surprises of the wilderness into which he has ventured. In a cosmic sense he enters the realm of the transcendent body of Siva-consciousness. In a "name-and-form" sense, this indicates the wild realm that belongs to Siva: the vast, dark forests full of wild animals, where ghosts linger in craggy trees. At the end of the Sivastotrāvali Utpaladeva thus calls the truly realized beings virajana: the valiant, the brave, the adventurers. They are beyond the ordinary person's abhorrence of ghosts, fearsome reminders of the chilly existence between hearty life and peaceful death. The realm of ghosts could only be presided over by Siva, who pounds the world into dissolution with the fury of his cosmic dance. Thus is he glorified:

Homage to the one wearing as raiment His own lustrous halo of radiant beams, Bedecked with a glittering garland of skulls For the festival of dance at the end of the world. (20.2)

Only the true devotee of Siva could revel in what for those bound by limitation is a horrifying prospect:

As though saturated with the wine Of the nectar of devotion, With vital organs radiating with delight, The adventurous ones dance through the night With Siva's attendants, a party of ghosts. (20.20)

And so has the accomplished devotee become a siddha, having mastered, by his devotion and by divine grace, the vision of true identity, abounding in freedom and beyond all fear.

23

Introduction

THE PROVINCE OF SACRED POETRY

Beyond the images and ideas presented in the songs of the Śivastotrāvali lies the vessel for the thoughts themselves: the literary form of the stotra. It has been traditionally understood that stotra literature is composed by those of a highly evolved spiritual as well as poetic awareness. Indeed, we do not for a moment question the spirituality of Utpaladeva. We have seen, on the other hand, the array of poetic imagery throughout the Sivastotrāvali. In addition, Utpala experimented with- and employed to a perfection-a variety of complex Sanskrit meters, both syllabic (śloka, śikhariņī, prthvī, rathoddhatā, and śārdūlavikrīdita) and moraic (āryā and vaitālīya). The classic stotrakāra (literally, "hymn-maker") had the gift of insight into the divine realms and could communicate this insight through verse. Mariasusai Dhavamony says of the stotra literature:

There is undoubtedly an appeal to the deepening of the religious sense of man. Over and above this visible, so to say, aspect of man's communion with the Deity, there is also the invisible aspect that underlies these hymns. In order to understand and interpret this spiritual aspect, we have to enter into the secret and mystical world of these hymns, a world that is beyond the grasp of ordinary human beings but nonetheless the presence of it is felt very strongly by the hymnologists.12

This "secret and mystical world" represents the place or faculty by which one experiences communion with the deity; Dhavamony continues:

The Indian mind is constantly seeking hidden correspondences between the world of men and the world of the gods, as is evident in the early religious literature of India ....

The recitation or singing of the stotra is beneficial for the devotee, for it is a medium through which one can both vent a spiritual longing as well as rejoice in spiritual satisfaction. The very act of participating in the stotra, either by listening or by joining in the recitation, induces the mood of devotion. It is when the devotional mood is aroused and sustained that one can open one's heart toward divine union, which can be known about,

Introduction

but never experienced, through the mind. The purpose of chanting is not only for the benefit of the devotee, but for the pleasure of the gods. Indeed, the first activity of the day in the Hindu temple is to wake up the deity by singing a devotional song before the image, and the last one at night is to sing the deity to sleep. The devotee expresses love of the deity by thus cherishing and nurturing him, and similarly, the deity, entertained by the sound of the poetry and pleased by the devotion in the heart of the worshiper, bestows on him his grace. Indeed, Siva is said to enjoy singing and dancing in his worship:

May you be glorified, who delight in offerings Drenched in the sentiment of devotion. May you be glorified, pleased with the singing And dancing of devotees drunk on your wine. (14.10)

Something there is that connects the realm of the deity and that of the worshiper, something that acts as a conduit between grace and devotion. The Śivastotrāvalī has been called a sacred stream that flows between this world and the world of the gods, consecrating everything along its course. Madhurāja-yogin, a disciple of Abhinavagupta (and thereby a direct preceptorial descendent of Utpaladeva) so praises the Šivastotrāvalī:

Though there are over thousands of Streams of beautiful verses, None at all compares to that Celestial river, the Stotrāvali. As soon as it passes through the tirtha of the ear It purifies the soul of man, And flows on to the throat, Where lies the city of Śrikantha.14

Thus in describing the inner journeys of the spiritual pilgrim, the Śivastotrāvalī itself is called a river that flows from one realm to the next. From without, it touches on the water-shrine (tirtha) of the ear, flowing down, onwards to the city of Śrikantha, that is, Siva as the Lord of the Throat (that has turned blue from drinking the poison of the ills of the world): one's soul becomes purified, says the devotee, by merely hearing the verses of the Śivastotrāvalī.

25

The Śivastotrāvalī

The First Song

.

The Pleasure of Devotion

om

We praise the one who is filled with devotion, Who meditates not nor recites by the rule, And yet without any effort at all Attains the splendor of Śiva.

Though my soul is young 2 Drinking the nectar of your devotion, It is yet as one gone grey, With hair whitened by the dust Along this journey through the world.

Even the path of worldly living 3 Becomes blissful for the devotees Who have obtained your blessing, O Lord, And who live inside your realm.

When everything in the world is in your form, 4 How could there be a place Not suitable for devotees? Where in the world does their mantra Fail to bear fruit ?*

Triumphant are they, intoxicated 5 With the celestial drink of devotion.

• That is, is there any place at all that is not the same as a sacred pilgrimage center for a devotee?

29

First Song

They are beyond duality Yet retain you as "the other."*

6 Only those who are immersed In the joy of fervent devotion Know the essence, O Lord, Of your boundless ocean of bliss.

7 You alone, O Lord, are the self of all. And everyone naturally loves his own self. Thus victorious becomes the one who knows That devotion is inherent in all.

8 Lord! When the objective world has dissolved Through a state of deep meditation, You stand alone- And who does not see you then? But even in the state of differentiation Between the knower and the known, You are easily seen by the devotees.t

9 Just as Devī, Your most beloved, endless pool of bliss, Is inseparable from you, So may your devotion alone Be inseparable from me.

10 The path of the senses is threefold, Marked by pleasure, pain, and delusion. For the devotee this is the path That leads to your attainment.

11 The highest state of intellectual knowledge Has none of the taste of the nectar

• Although the true devotees have overcome the worldly sense of subject-object dualistic perception, they still function as members of ordinary society. Through this perspective, however, the world-as-object becomes Siva himself; thus the whole world is equated with the body of Siva. t Other systems recognize that through deep, fervent meditation a perfect state arises in which the difference between the knower and known dissolves, and the Lord is clearly visible. But for realized devotees he is always clearly visible, even when they are in the normal state of differentiating knower and known, subject and object.

30

First Song

Of your devotion. To me, O Lord, it is like sour wine.

Those who practice the exalted science 12 Of your devotion Are the only ones who truly know The essence of knowledge and ignorance alike.

May this vine of speech, 13 Rising steadily from the root, Everywhere adorned with blossoms And sprinkled with the nectar of devotion, Yield for me fruit abundant with that sentiment.

"One should worship Siva by becoming Siva" 14 is the old saying. But the devotees say, "One should worship Siva by becoming a devotee." For they can recognize your essence as nondual, Even when it is in bodily form.

What for the devoted 15 Does not serve as an instrument To attain identification with you? And what, then, for the spiritually inferior, Does not serve as an obstacle, Leading to failure in spiritual attainment?

According to yoga, you are obtained 16 At particular times and in particular places. This is deception! Otherwise, how is it that you appear to devotees, O Lord, under all conditions?

Pratyāhāra and similar practices 17 Have nothing to do with this unique attainment. Even in what is merely the yogin's nonmeditative state, The devotees acquire complete union .*

• Pratyähāra, or the withdrawal from objects of the senses, is one of the requirements of yoga for attaining samadhi. The devotees, then, enjoy all of the benefits of samadhi without following the established yogic rules of asceticism.

31

First Song

18 Neither yoga nor austerities Nor ceremonial worship Is recommended on this path to Siva. Here, only devotion is extolled.

19 Within and without, let determinate cognition cease, Dispelled by the brilliant, Glowing light of devotion. Let even the name of anxiety be destroyed So that I may have direct realization Of the true nature of all things.

20 With the single word Siva Ever resting on the tip of the tongue, The devotees can enjoy Even the most complete array of savory delights.

21 Who else is to be counted* By those resting comfortably in the celestial bliss Of the cool, pure, tranquil, sweet Sea of the nectar of devotion?

22 Lord! Why should someone like me Not taste of the mahausadhit herb of devotion, Whose natural extract Is called liberation?

23 O Lord, the wise pray for those fortunes alone That nourish the capacity to delight In the bliss of your devotion.

24 They have experienced inexplicable bliss In a downpour of devotional nectar. Even should they fall, They will not become soiled With the mire of false attachments And other such things.

• In this state all that exists has merged into one; there is no entity separate from this. t The mahausadhi (literally, "very efficacious plant") is an herb valued for its medicinal qualities.

32

First Song

When it ripens, the vine of devotion 25 Inherently bears fruits, called siddhis; These begin with anima and other powers And culminate in liberation .*

How wonderful it is that the mind, O Lord, 26 In essence the seed of all suffering, When doused with the nectar of devotion Bears the magnificent fruit of beatitude.

The vine, a creeping plant that does not grow straight up but rather winds its way up and down, back and forth, symbolizes devotion; its fruits are the powers that develop inherently as devotion grows. In other verses Utpala warns against undue attachment to these fruits; if one becomes too involved with the lesser powers, which consist of the supernatural manipulation of the natural world (māyā, hence "magic"), he becomes caught in the very net (of illusion) that he seeks to control, thereby forfeiting the attainment of the highest power, spiritual liberation.

33

The Second Song

Contemplation of the All-Soul

1 May you be glorified, O Essence of Consciousness, Appearing in many forms as Agni, The moon, the sun, Brahmā, Vișnu, The mobile and the immobile.

2 May you be glorified, O Mighty Fire, Brilliantly lustrous from smearing the ashes That remain of the universe, Your sole oblation.

3 May you be glorified, O Mild One, Smooth and brimming with the finest nectar, O Terrible One who burns away The entire universe.

4 May you be glorified, O Mahādeva, O Rudra, Śańkara, Maheśvara, O Siva, Embodiment of the Mantra .*

5 May you be glorified, O Fire of Siva, O Dreadful One, who, Having absorbed the melting fat Of the pieces of the three worlds,t Remains yet auspicious.

• Embodiment of the Mantra refers to the universe as a manifestation of the sound of Siva (śivadhvani). t Utpala here uses the image of an animal sacrifice.

34

Second Song

May the Lord be glorified, The mysterious Sambhu Whose only definition is that he is Devoid of all definitions.

Glory to the imperceptible Lord, 7 The antithesis of the Vedas and the Āgamas And yet the true essence of the Vedas and the Āgamas.

Glory be to Sambhu, 8 The sole cause of the universe And its only destroyer, Who takes worldly form And who transcends the world.

Glory be to Śambhu, 9 Who is the consummate beginning, middle, and end, Who takes the form of beginning, middle, and end, Who is without beginning, middle, or end.

The utterance of your name even once 10 Produces the same effect As several virtuous deeds. May you be glorified, O Difficult of Attainment.

Homage to the One who revels always 11 With a band of ghosts In moving and in nonmoving forms. May you be glorified, O Skullbearer, O Essence of Consciousness.

Homage to that wondrous Sambhu, 12 The Deluding One Who is yet pure and clear; The Hidden One Who has yet revealed himself; The Subtle One Whose form yet takes the form of the whole universe.

Second Song

13 May you be glorified, O Omnipotent One, Whose many acts bewilder, Whose play is to destroy the world Maintained by Brahmā, Indra, and Vișņu.

14 May you be glorified, O Hara, Fathomless ocean On whose shores the mere wanderer Acquires your special powers .*

15 Homage to Śambhu, resplendent lotus Dwelling unsullied In the midst of the world's thick mire Of illusion.t

16 Homage to the Auspicious One, The Pure, the Protector, the Adorned Soul, The Beloved, the Highest Truth, The Best of all things.

17 Homage to Sambhu, The One who is ever bound Yet enjoys eternal liberation: Who is beyond bondage and liberation.

18 In this vast expanse of the three worlds, Whose whole essence is ludicrous,t You are the sole enjoyer of perpetual delight. May you be glorified, O One without a Second.

19 May you be glorified, O Sarva, Who are the essence of the "righthanded" path,

• The ocean is called ratnākara, that is, it produces magical gems that one can acquire only be plunging into its depths. One can obtain the "gems," or powers, of Siva merely by approaching his "shores", one need not be immersed in intellectual knowledge nor yogic technique, but must simply approach with a devotional attitude. t The image of the lotus in mud as representative of the higher or inner self amidst the world of illusion is a well-known image in Indian literature; cf. Bhagavadgitā 5.10. ț The whole world is ludicrous (upahāsa), a joke, the mere play of Siva. If one identifies with the world, he, too, is ludicrous and without meaning. But if one identifies with Siva, he obtains the positive aspect of this play, and for him the world becomes a playground of enjoyment.

36

Second Song

Who are the essence of the "lefthanded" path,* Who claim every sect And no sect at all.

May you be glorified, O Deva, 20 Who can be worshiped in any manner In any place In whatever form at all.

May you be glorified, O Granter of Boons, 21 Who are served by those aspiring for liberation, And whose boundless depths of beauty Dispel all afflictions.

May you be glorified, O Lord, 22 Who forever fill the three worlds With infinite beatitude, Rejoicing in eternal celebration.

Homage to your terrifying sense-goddesses! 23 Whatever they enjoy Is all in offering to you.

May you be glorified, inaccessible 24 Even to the long-haired sages. But those endowed with the spirit of devotion Embrace you without difficulty.

May you be glorified, 25 Vessel of the sweetest nectar, Treasury of supreme liberation, Attainable far beyond the farthest limits.

May you be glorified, O Form of the Great Mantra, 26 Cool and lucid, Blessed with exquisite fragrance, Brimming with the great nectar of immortality.

• These names refer to two sects of Tantra commonly known as the dakşinācāra ("righthanded path") and vamdcara ("lefthanded path"), referring, by some interpretations, to the acceptability or dubiousness of their cultic practices.

37

Second Song

27 The great cloth Representing your absolute oneness Is full of the nectar of freedom And has not a single spot of color. Homage to your teachings, O Lord .*

28 We praise the path of Maheśvara, The thunderbolt against all doubts, The fire of destruction That destroys all misfortune, The final dissolution Of all things inauspicious.

29 May you be glorified, O Deva! Homage! Adoration! O Protector of the Whole Universe, O Supreme Lord of the Three Worlds, For refuge I come to you alone.

• The image is of a royal edict or decree (śasana) that is written on a great woven cloth (mahäpata). Sāsana also denotes a doctrine or teaching; therefore, the doctrine of Siva is without blemish. In this image the doctrine or edict is full of nectar, yet because its essence is the freedom of Siva, it is pure and white, without a single spot of color (citra) to defile it. Citra also denotes a written impression; therefore full understanding of the doctrine comes not through what has been written in speculation but through direct realization.

38

The Third Song

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The Gift of Affection

Homage to the miraculous Sambhu, who, 1 Transcending the two forms-the real and the unreal- Of all that exists, Constitutes the Third Form.

In this threefold universe of bondage 2 The only ones who are free, Including the gods and the sages, Are those who arise from your freedom.

They enjoy perfect happiness 3 Who have the unique elixir Against the ills of the world: The remembrance that the entire universe Is inlaid with your form.

Whose white canopy is the self-illumined moon, 4 Whose fly-whisk is the stream Of the heavenly Gangā- He alone is the Supreme Lord.

Bestow on me your glance 5 Which radiates immortal nectar, Cool and pure Like a crescent of the moon.

Why, O Lord, do the drops of supreme knowledge 6 That flow from the ocean of your consciousness-bliss

39

Third Song

Not have the delicious flavor Of immortal sweetness?

7 Whose heart Is not immersed in the delight of your nectar, O Lord, Has no heart at all. O Mighty One! He should be despised!

8 Whose heart Is united with you, O Lord, Alone is worthy of Sambhu's powers.

9 Meditation on you Washes away both delights and sorrows As a river stream Washes away high lands and low lands alike .*

10 For those who feel no separation from you And for whom you are dearer than their own souls- What cannot be said Of the abundance of their happiness!

11 I roar! Oh, and I dance! My heart's desires are fulfilled Now that you, Lord, Infinitely splendid, Have come to me.

12 In that state, O Lord, Where nothing else is to be known or done, Neither yoga Nor intellectual understanding Is to be sought after, For the only thing that remains and flourishes Is absolute consciousness.t

• Ultimately delights and sorrows amount to the same thing: they are attachments and thus are obstacles to be removed by meditation on Siva. t Absolute consciousness (viśva-eka-pūrņā) is the state representing the final oblation of all feelings of separation and multiplicity; on a cosmic level, it is synonymous with world dissolution.

40

Third Song

Whose voice ever rings 13 With the eternal sound Siva Escapes spontaneously The cruel grip of undefeatable, endless sorrows.

The "first person" 14 Is distinguished from the "second person" And from the "third person" as well. You alone are the Great Person, The refuge of all persons .*

O Lord of the Universe! 15 How lucky are your devotees, Worthy of being adored by you. For them, this turbulent ocean of the world Is like a great pleasure-lake For their amusement.

Those who delight in you 16 Long for nothing but to identify With you completely. How could worldly desires ever be requested! For the devotees feel ashamed Even in expressing the prayer: "May you be revealed to me."

"Higher than Me there is nothing, 17 Yet even then I practice japa. This shows that japa is but Concentration on absolute oneness." Thus you instruct your devotees As well as the whole world Through your akşamālā.t In essence this is what constitutes japa.

• Utpala is punning on the grammatical terms of first, second, and third person, and on the cosmic Person; both are expressed by the word purusa. t The akşamāla is the string of prayer beads used in japa meditation, or repetition of the mantra. Here, the unity of Siva and the devotees is portrayed by the fact that although Siva is to be worshiped, he is also a worshiper. Cf. 4.25.

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Third Song

18 The unreal is indeed different from the real, And the real is indeed different from that, O Lord! You are neither real nor unreal, But the nature of real and unreal both.

19 Though you shine even more brilliantly Than the rays of a thousand suns And though you pervade all the worlds, Still you are not visible.

20 In this unconscious world You are the form of consciousness. Among the knowable, you are the knower; Among the finite, you are the infinite: You are the highest- of all.

21 "No more of these lamentations!" I cry out loudly before the Lord, For in spite of knowing all this I am confused And I stray from the right path.

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The Fourth Song

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Potent Nectar

You are to be praised, O my mind, 1 For even though you waver, You worship the protector even of the protectors, The guru of the three worlds, The beloved of Ambikā.

Although I have gradually traversed 2 The steps of the various gods, Having as support the feet of Siva, What a wonder it is that not even now Do I part with this lowliest of states!

Show me the inner path! 3 Make disappear completely The ways of the entire world- So that in an instant, O Lord,* I may become your servant forever.

O Siva! Śiva! Śambhu! Śańkara! 4 O you who are kind to those seeking refuge, Have mercy! For blessings are not at all far away From the memory of the pair of your lotus feet.

Lord! Reclining on the cushion of your lotus feet, 5 Those who create the world as they like

• In an instant refers to the practice of saktipata, whereby the guru transmits the power of awakening instantaneously.

Fourth Song

Laugh at Viriñci, who is subordinate And who is completely smeared With the soil of his own authority .*

6 Nothing can shine that is separate From the light of your form, O Lord. Therefore, though disguised by nature, You remain accessible.

7 Some people's perceptions become dulled Because of duality. But others taste immediately The brilliant, unbroken body That is free of duality.

8 O Lord, if that light of yours Which is smeared with nectar And which shines to me Like infrequent flashes of lightning Could be made more constant, Then from that time my worship of you Would also become constant And nothing else would be required.

9 Just as here it is certain through great insight That you are everything, That there is nothing else Either existent or nonexistent, So, then, be abundantly evident to me!

10 By your own will, O Lord, Have I set out on your path. Why, then, do I behave like ordinary people Instead of one worthy of you?

11 The sweetest emotion Blossoms in the hearts of the cātaka birds

• Even Viriñci (Brahma), the creator of the world, is dependent upon Siva. In contrast, the devotees are free to "create" their own worlds, because they have submitted themselves to Siva instead of seeking independent "authority."

Fourth Song

Who long enjoy that blissful experience When they hear the rumblings of clouds .*

Just through your grace 12 Has this enjoyment increased. So even when the devotees Are in a state of separation Just the mention of you gives rise To the remembrance of that joy of union.

He who utters the name of Siva 13,14+ Hundreds and hundreds of times Grows great through the showering Of the sweet, sublime nectar. The marvelous power of this word Enters even into the hearts of fools.

And that word, which flows like honey From a nectar-crescent of the moon, And causes the highest nectar to flow- That is the sound of Siva: Blessed are they who have this sound Ever on their lips.

This terrible world is about to be ended.t 15 The deep stain of my mind has melted away. Still the gates of your city Are bolted shut And do not unlatch even slightly.

• The cātaka is a mythical bird whose sole nourishment is said to be obtained from rain drops. In this image, even the first far-off rumblings of clouds are enough to cause great, lasting joy to the birds, for they are assured of the rain to come. Similarly does the devotee experience bliss just by hearing about Siva, knowing that absolute joy is to follow. t Most manuscripts place these two verses together with one long commentary following both. Cf. 10.5,6 and 10.18,19. t This refers to the universal process in which Siva reabsorbs the whole world into himself. On the microcosmic level, it is the absorption of the individual consciousness into the consciousness of Siva. This state is not attained without overcoming a stage of tremendous psychic and psychological barriers; the difficult stage of those obstacles, known as śünyabhümi, is reflected by the exasperated devotee in this verse.

Fourth Song

16 Ardently I desire to behold Your ever-blossoming lotus face. O Lord, may you appear to me, Howsoever faintly, Face to face.

17 There is no other happiness here in this world Than to be free of the thought That I am different from you. What other happiness is there? How is it, then, that still this devotee of yours Treads the wrong path?

18 If I do not continuously sip, with affection, The wine of the nectar of harmony with you, Then for a moment I will not be a fitting Receptacle for your realization.

19 In truth, this person doesn't see Even the slightest image of your form, His mind sullied By the sense of duality. Even though you are omniscient And show kindness to your followers Why do you not hear this cry of mine?

20 Do you remember, O Lord, That I ever sought after worldly pleasures Or ever beseeched you for any of them? Always greatly desired is the nectar That comes from beholding your form. That, oh grant me!

21 No sooner had I set foot On the path of Siva Than, through your will, Hundreds of auspicious things arose for me. What else could I possibly ask of you, O Lord?

Fourth Song

Where the sun, the moon, and all other stars 22 Set at the same time, There rises the radiant Night of Siva, Spreading a splendor of its own.

O Lord of the Gods! 23 Without the taste of nectar from touching your feet, Even gaining sovereignty in the three worlds Holds for me no savor at all.

Alas, O Lord, this knot of the soul 24 Prevents your realization. But fashioned and concealed by you, That knot is strong indeed- So strong that, disregarding you, It slackens not a bit.

O Lord of the Gods! 25 You are an object of incessant worship By the great ones, But are yourself a worshiper. Here in this world You are an object of vision From both within and without, But are yourself a seer.

The Fifth Song

The Command of Powers

1 Carry me into your abode, O Lord- I, who, through the touch of the guru* Have become attached To the pleasure of the touch Of your lotus feet.

2 The hair on my head glistens With color from the dust of your lotus feet; When shall I begin to dance The dance of ever-impetuous delight?

3 O Lord! You are my only Lord! I perpetually beseech That I would sooner be made a mute And dwell within you Than become wise in any other way.

4 "O Lord! Ocean of Nectar! O Gleaming Three-eyed One! O Sweet One even of the Monstrous Eyes!" Let me cry and dance Exclaiming all this with joy.

5 With my eyes closed At the touch of your lotus feet,

• Kşemarāja glosses the term galepādikayā as hațhašaktipātakramah, that is, an advanced stage brought about initially by the touch of the guru transmitting the power of Siva to the devotee, thereby awakening his spiritual awareness.

48

Fifth Song

May I rejoice, Reeling with drunkenness From the wine of your devotion.

May I dwell somewhere in a glen 6 Of the mountain of your consciousness Where lies the uninterrupted state Of your sublime bliss.

May I live in that sanctuary, O Lord, 7 Where, taking many forms, You reside with Devi From the palace up to the city gates.

O Lord, may the rays 00 Of your brilliance beam steadily Until the lotus of my heart opens To worship you.

Grant, O Lord, 9 That I fall at your feet always And find such delight there That even my mind becomes intoxicated And dissolves in bliss.

Whether through immense joy or through anguish, 10 Whether from on a wall or in an earthen jug, Whether from external objects or from within, Reveal yourself to me, O Lord!

So cool is the nectar 11 From the touch of your lotus feet! May that always stream through me, Within and without.

Plunging into the ambrosia-lake 12 Of touching your feet Is ever for me a pleasure Beyond all pleasures.

:

Fifth Song

13 Accept false enjoyment and the other limitations That I offer unto you, O Lord. Having transformed them into immortal nectar, Enjoy them together with the devotees.

14 Contented with your meal Of the entire world, Be comfortably seated; Then bestow on us, your devotees, Your blessings and your blissful glance.

15 With my eyes closed, Relishing the wonder of inner devotion, May I worship even the blades of grass thus: "Homage to Siva, my own consciousness!"

16 Having seen the world as consisting of your nature And having realized the pleasure Of your nondual form, Still may I never part With the enjoyment of the spirit of devotion.

17 O Lord, since you and you alone Have no wish that is unfulfilled, Then the fulfillment of your nonduality Is more than sufficient.

18 May I attain that state Where one laughs, one dances, One does away with passion and hatred And other such things, And where one drinks Of the sweet nectar of devotion.

19 May the extraordinary fragrance Of the blossom of your remembrance Become fixed in my heart Until the stench of foul impressions fades away.

20 O Lord, enlighten my heart! Help me to discriminate between

Fifth Song

The base delight in false enjoyments And the superior delight in your lotus feet.

Although I roam about in the states of yoga. 21 And am not caught up in worldly affairs, I would rather that my heart tremble, Intoxicated with the wine of your remembrance.

In speech, in thought, 22 In the perceptions of the mind, And in the gestures of the body, May the sentiment of devotion be my companion At all times, in all places.

Śiva! Śiva! Śiva! 23 Thus is performed the worship Of constantly repeating your name. O Lord, may I continue to taste the sweetest nectar, Which is never repetitious.

May I live, worshiping you 24 In the world made of Pulsating, endless, consciousness, Along the path where All unconsciousness has been dispelled, In the city made of Your unfathomable, extraordinary consciousness.

"Nothing at all is of use 25 For becoming firmly established, shining manifest, Eternally in one's own form." May this thought take deep root in me, Purified by the dust of your lotus feet.

When I touch the soles of your feet, 26 It sometimes flashes in my mind That this whole world Has merged into a lake of nectar. Lord! Grant this to me always!

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The Sixth Song

Tremblings along the Journey

1 Separated from you Even for an instant, O Lord, I suffer deeply. May you always be the subject of my sight.

2 Even if I am separated From the world of samsāra May I not be separated from you, My beloved.

3 Wherever I go with body, speech, and mind, Everything that there is, is you alone. May this highest truth indeed Become perfectly realized within me.

4 O Lord! Offering you prayers, May my speech become just as you are: Beyond all distinctions And filled with the highest bliss.

5 From the experience of union with you Let me wander about Free of every need and desire Filled with absolute joy Seeing all of creation as you alone.

6 O Lord, may I perceive the whole world As filled with you So much so that I, too,

52

Sixth Song

Be completely satisfied: Then, no longer will you be bothered With my entreaties.

Just as cloud droplets are absorbed in the sky, 7 So are the various constituents of the universe Absorbed in you; May they always shine visibly for me As I proceed through the stages Of spiritual growth.

From the center of the world 00 8 Let there be visible to me Your magnificent jewel That dispells the depths of darkness With its radiant luster.

On what site do you not dwell? 9 What exists that does not exist in your body? I am wearied! Therefore let me reach you everywhere, Without difficulty.

O Lord, may I realize at will -- 10 The bliss of embracing your form. Having attained that, What have I not accomplished!

Be visible, O Lord! 11 We do not trouble you with other requests. Anguished, we chase after you.

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The Seventh Song

Victory over Separation

1 Having found harmony in your sea of bliss May my heart be rid of this sorry state Of disharmony Once and for all

2 May the axe of faith In the oneness of your form Fall on the firm root* Of false attachments, hatred, And the other bonds that become manifest as "This is mine, this is not mine."

3 O Lord, may the chain of the stigmas Of contradictions perish. May absolute freedom flash forth in my heart. May the image made of consciousness Be flooded with the nectar of bliss.

4 I toss within the egg Of the world infested with false attachments. Like a mother, may the devotional sentiment Nourish me with the sweet essence of bliss So that I may develop into a bird With mighty wings.

• Here is another image of a plant: not the creeper of devotion, but the hardy weed of false worldly attachments; if allowed to continue its unruly growth, it will wrap around and ensnare the individual soul.

54

Seventh Song

Acquiring the skill to taste the sweet nectar 5 Derived from worshiping your feet, May these longings of my mind For the poison of sense objects Be destroyed in their entirety.

Having been touched 6 By the sunbeams of your devotion, Let this heart-crystal of mine Shoot forth the blazing sparks of the passions, Eradicating them completely.

Forever may I sing my praises 7 Loudly to you, Located in that place where Hari, Haryaśva, and Viriñca are waiting outside .*

With the restless joy 8 Born of the rapture of devotion May I perceive, entirely through the senses, The whole world in the form of Siva And every action to consist of worship.

May my mind be wedded to devotion, 9 And through that union May children be born In the form of anima and the other powers. May they mature So as to strengthen my feeling that "All these are mine."t

Hari, Haryasva, and Virinca are other names for Vişnu, Indra, and Brahmā, monumental Vedic gods whose supremacy is challenged by Utpaladeva. The image suggests that the heart of Siva is a royal chamber where only the devotees can gain access, by merit of their sincerity, not supremacy. t When the mind (buddhi) accepts and "unites" with devotion, anima and the other powers of Siva are produced.

The Eighth Song

Unearthly Strength

1 When will that small amount of grace Abiding with the Lord And that small amount of devotion That has come to me Unite to become like that unique form- The blissful body of Siva?

2 Here in this world May there arise in me continually The blissful experience of the highest fulfillment That comes from your supremacy. May jñāna, yoga, and powers such as aņimā Remain afar.

3 Let me, like other people, Yearn deeply for the objects of the world, But allow me to view them as your form, O Lord, without contradiction .*

4 In the different stages Of the growth of the body, In the modifications of the mind, In the many situations On the path of life, Reveal to me your own blissful form.

• In the state of iśvarapratyabhijñā one can experience fully the pleasures of the world as well as the pleasures of uniting with Siva, without feeling a contradiction between "worldly" and "other-worldly."

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Eighth Song

Let the sense faculties, full of delight, Be attached to their respective objects. But may there not be, even for an instant, Any loss of the joy Of your nonduality.

As I become absorbed within you, 6 Experiencing your form-so light, Mild, clear, and cool- May I transcend that behavior of ordinary life Dependent upon material objects.

May my body blossom into your true nature, 7 The worlds become my limbs. May all this dualistic feeling Be forgotten forever, Even after crossing into the realm of memory.

From the vision of your face 8 May there arise for me A flood of the highest nectar So that the terrible cavern Obscuring my realization of your form Be filled in completely.

Whenever I am sprinkled with even a few drops 9 Of the nectar of your touch I become indifferent to All the pleasures of the world. Why must I be deprived of both types of pleasures ?*

O Unborn One! 10 May I, the royal swan perpetually gliding Across the lake of your lotus feet, Reach the top, middle, and indeed the root Of the lotus stalk of devotion.

• At this point the devotee has discerned that mundane endeavors alone are not sufficient, and he becomes less and less content with a solely worldly basis in life. But with only intermittent experience of joyful spiritual union, he is left unable to derive complete satisfaction from either path.

Eighth Song

11 May there exist, O Lord, All the objects of my thought and my sight. But may each of them blossom As the bliss of vision, reflection, And illumination.

12 O Mightiest Lord! Even when there is a deluge of those miseries May I not only be free from fear, But may I also enjoy the blissful, supreme Exultation at the touch of your body.

13 While woven into your being This entire universe Is also projected outward. I have come to understand this Through strong determination; May I realize it also Through sensual experience.

The Ninth Song

.

The Triumph of Freedom

When shall my heart, anxiously longing For a new experience of tender devotion, Abandon all else And come to touch you?

Of you alone enamored, 2 Having as my only treasure The worship of your feet, When shall I make you visible, O Lord, Before these very eyes?

When shall my mind 3 Indifferent to all else through love's intensity Tear open the great door latch With a loud bang And finally arrive in your presence, O Lord?

Through the power of your devotion, O Lord, 4 When shall I overcome all of the gods Who reside in my heart, The core of consciousness?

When shall I enjoy the bounteous celebration 5 Of the rapture of devotion, Where the elements of the objective world Become filled with the bliss of consciousness?

When shall that moment come, O Lord, 6 When all of a sudden I recognize you,

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Ninth Song

The Fearless, Exalted, Whole, Without Cause, The One, indeed, to have veiled himself- And in so doing make you ashamed?

7 When, O Lord, shall I become Such a cherished devotee of yours That you never consider it appropriate To run away from me?

8 Viewing all creatures as immersed in your worship When shall I retain this vision, And be flooded with its sweet, delightful nectar?

When shall my yearning for devotion- The highest state of knowledge and The highest stage of yoga- Become fulfilled, O Lord?

10 When shall I become helplessly enraptured And reveal to everyone my joy, Having suddenly obtained and firmly clasped The treasure of your most precious feet?

11 When, O Lord, shall I possess Your pure, far-reaching radiance So that never may I become sullied By the shadow of māya?

12 Having assimilated into myself this orb of the world, And free of all desires, When, O Lord, shall I become prominent In the community of your devotees?

13 Of the pride in the world, You are the one cause. Bursting with the spirit of your devotion, When shall I attain the Great Pride?

14 Replete with all objects, embraced by Śri,*

• Śri is one of the names of the goddess of wealth, here, according to Kşemarāja, representative of the wealth of devotion.

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Ninth Song

When shall I comfortably take my rest At the pair of your soothing lotus feet?

When shall I, flushed with the wine of devotion, 15 Reach the limits of joy in your worship, Attaining the highest fulfillment, O Lord?

When shall I have the bliss of your touch 16 So that I stammer and lose my voice, Choking on streams of blissful tears, With peals of laughter abloom on my face?

When, O Lord, shall I shake off 17 This habit of acting like brutish people* So that I enjoy an attitude Befitting your devotees?

Having attained anima and the other powers 18 And having overcome all fears of distress, When shall I lose myself in the pastime Of drinking that magical, life-giving draft?

When, O Lord, shall my voice 19 Produce such a lament That your image flashes suddenly before my eyes?

With my heart set on 20 Tightly embracing your lotus feet, When shall I behold you without any effort In the form of being and nonbeing both?

Pasujana ("brutish, beastly people") carries the implication of the state of the bonded soul, called paśu. As lord of all people, of all beasts (especially wild ones), and indeed of all bonded souls, Siva bears the epithet Paśupati.

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The Tenth Song

.

Breaking the Continuity

1 Surely you, the sole presiding deity of the universe, Should not tolerate the followers of Mahesvara Behaving like the ordinary people of the world.

2 Those who, through never-ending affection Have become the followers of your feet, Derive the deepest pleasures From anything that they do.

3 Where you, the Great Destroyer, are protector, How can there be any disease? Wherever your Lakşmi* resides, What other desire for enjoyment can there be?

4 Whoever should obtain the all-pervading Lord For just a moment's happiness Becomes filled with your bliss for all time, Even from that very instant.

5,6 The moon is a drop of the nectar of your bliss That has trickled down to earth, Just as the sun is a mere particle Of your brilliant light, O Lord.

We dedicate ourselves to this, Your third eye, The one symbol of your transcendental mystery.

• Kșemarāja comments that the goddess of wealth here represents "the accomplishment of the splendor of nonduality."

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Tenth Song

Who is much exalted, beholding you 7 Has truly your realization. Who is struck suddenly with ineffable joy- He too has your realization.

Having gotten into your heart, O Lord, 8 Those granted with your grace Have withdrawn the exterior world from you And merged it within the interior.

Everything else except you, O Lord, 9 Has two eyes-that is, even-eyes. But you, the only Lord of the world, Are of the uneven eyes .*

Without you, your opponentst 10 Would not be able to speak ill of you. Even their disparaging remarks Would not exist but through your majesty.

If, O Lord, there be in my heart 11 A place for you that is free Of inner and outer obstacles- What else then would be needed?

Some wander about from birth to birth, 12 Utterly restless souls. Others, Lord, move throughout the world, Joyously equipoised.

Without having drunk of the nectar of your devotion 13 And without having beheld your essence, Even then do people become perfected By merely hearing about you, O Lord.

We are your servants, O Lord! 14 Therefore we should receive the same care from you As you foster on the soul of the three worlds.

• Uneven refers to the three eyes of Siva; it also connotes "odd, terrible, monstrous," thus the fearsome aspect of Siva. t Kşemarāja glosses these as Buddhists, Sāmkhyas, Mīmāmsakas, and so forth.

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Tenth Song

15 Having seen you, the soul of the world, Made of the nectar of the highest bliss, Even now do I yet more intensely Long for the ecstacy of your touch.

16 All misfortunes suffered by those of the world Become tolerable When joined with that form of yours Known as constancy.

17 With you existing as the essence of consciousness, Omniscient and omnipotent, The manifestation of this world- Appearing as false in every respect -- Is understood as your true form.

18,19 Enlivened by you, these senses quiver Though they be like lumps of clay. They dance, like feathery fluffs of cotton Raised up by the breeze.

If, O Lord, the senses were not Endowed with self-consciousness, Then who would forsake the realization That the world is one with you?

20 They are to be praised, O Supreme Lord, Who, while yet in the state of dissolution Have been purified By the touch of the fire of your wrath .*

21 Though you stand completely manifest With a body of splendrous light, Why do I wander about, O Lord, In darkness?

22 You, the indivisible Lord, are my immortal form. Yet still, I am only an abode Of mortal characteristics.

• This refers to the demons who were killed by Siva; the touch of Siva's fire, though wrathful, brings more merit than not being touched at all.

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Tenth Song

Whose speech is adorned 23 With the name Maheśvara And whose forehead bears the mark Of salutation, Is indeed alone the exalted one.

Since you indeed are real and unreal 24 Why then do I not realize you Without any effort, Spontaneously?

For a servant of Śiva 25 Who has identified himself with Siva, What happiness is there that cannot be attained? Therefore even the heads of the gods Serve me the wine of immortality.

Between the heart and the navel of living beings, 26 In the form of the great digestive fire* You devour all That moves and moves not. -.-..-.. !

• Here, through his power of mahima, Siva has expanded his body so as to consume easily everything in the world; the digestive fire of individual living beings is the same conflagration that annihilates the universe.

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The Eleventh Song

Bound to the World by Desire

1 Neither this world Nor a friend Nor a relative Belongs to me at all. When you are all this Who else then could be mine?

2 You, O Master, are the Great Lord. You are in truth the entire world. Thus, asking for any one specific thing Is just the asking And nothing more.

3 Supremacy over the three worlds appears As trifling as a piece of straw To those who are devoted to you. What other fruit than your remembrance Need their good deeds bear?

4 When nothing at all is different from you And even the creatør of the worlds Is your creation, There is no need, then, to sing the praises Of your miraculous deeds.

5 I am one with you, Constantly immersed in worshiping you. Since I am like this all the time,

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Eleventh Song

Why can I not realize it naturally Even when I am dreaming?

Those who have gotten just a whiff 6 Of the fragrance, however slight, Of your lotus feet- To them all things of enjoyment, Even those much desired by the gods, Appear putrid.

It isn't the case 7 That there is one thing in your heart, Another in your speech, And yet another in your actions. Be clear, O Śambhu! Bestow either grace or punishment.

I am confused, overcome with sorrow. 8 Old age and infirmities terrify me. My strength gone, I come to you for shelter. Therefore, grant, O Sambhu, that before long The highest of all states be reached by me, Far beyond the path of pain.

When they reach your ears 9. My laments, however meager, Become precious Like the drops of rain That one by one, Falling in the core of the bamboo shoot, Become pearls .*

What, O Lord, is not attained 10 By those people who even for a moment pretend To be devoted to your name? O bearer of the crescent moon on your head, Allow that, vanquishing death, I may attain animā and the other powers.

• This refers to a phenomenon said to occur on the day of Diväli, when the sun and moon both are in the Svāti Naksatra (constellation of the star Arcturus).

Eleventh Song

11 O Śambhu, O Śarva, Bearer of the crescent moon on your head, O Siva, O Three-eyed One, Bearer of the Prayer Beads, O Venerable One, Having Horrifying Skulls as your Symbol, O Brilliant One, Having Fearsome Trident as your Weapon, O Ocean of Compassion, O Ferocious Power, Creator of the Three Worlds, O Śrīkaņtha! Quickly annihilate all of this inauspiciousness And bestow on me the highest perfection.

12 What, O Master, could exist, Whose creator is not the Lord? What does a sentient being experience That is not due to the great, immutable Powers of Śańkara? I ever abide in you, But even so I am constantly depressed, Struggling with mental agonies.

13 O Granter of Boons, here in this world Inevitable are pain, old age, and death. But leave these aside for a moment: Even the highly esteemed Sound itself And other such things are ephemeral. Even so, I long for everlasting happiness, For the enduring, eternal elixir of life- The sweet meditation on your lotus feet.

14 O Master, expert at vanquishing The miseries of devotees, Treasure of auspiciousness, Having matted locks -- Now, when I am an abode only of pain, Grant me the highest perfection of your worship While I am still living And fit for the sweetest of pleasures.

15 May he be glorified Whose eternal activity

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Eleventh Song

Is the destruction of the great veil of illusion, Whose symbol is the moon, Whose light outshines all other lights.

The Twelfth Song

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Particulars of the Arcane Lore

1 Everything is saturated with you alone. Why, when this is the case, O Lord, Do you not reveal yourself, Even now?

2 You are dominant In worldly objects, In the various sense organs, And when I am enlightened with knowledge. Even while you permeate all of these things You are beyond them. May I have that revelation at all times.

3 Those who proceed on the path of beholding you Are fortunate to have your blessings. How can they be reborn And how can they be known by anyone? They are decorated With the naturally glorious symbol. You lift them up again and again From ordinary things in their worldly life- From water, from grass, and from other things- And you fill them with waves of nectar.

4 Satiated with the nectar Flowing from the direct realization of your form, Having eradicated desire, Intoxicated, They wander about at their will.

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Twelfth Song

Neither "then" nor "always" 5 Nor even "once." Where no perception of time exists, That very thing is your realization. And it can neither be called eternal nor anything else.

With my heart pining for your vision 6 May I only attain this much power through yoga: That by merely wishing it I may gain entrance to the innermost sanctuary To perform your worship.

With minds blossomed 7 From attaining an unwavering vision of you, The actions and words of devotees Are flawless-naturally .*

O Lord, may my permanent abode 8 Be at your feet And may I be fearless. Whatever my station in the world May I worship you With actions unrestricted.

Having completely entered 9 Your lotus feet, Having lost all desires, Let me consume the most bounteous honey And wander about at will, Completely satisfied.t

Even for him whose thought of worshiping you 10 Arises only hypocritically, Inevitably he acquires an appropriate Closeness to you.

• Kșemarāja adds that the true devotees have the natural ability to raise the spiritual standards of those around them. t The image here is the typically Indian one of a bee entering a flower; entering the lotus that represents the body of Siva, the wanderer finds nothing but endless honey.

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Twelfth Song

II O Lord, indifferent to everything else, With only one delight in my heart, Shall I ever drink enough of the Lord, Who is easily accessible, Who is all-calming?

12 Separated from you, All this, whatever it may be, Should be rejected. And everything consisting of you Should be accepted. This, in short, is the essence (Of all spiritual wisdom).

13 The objective world, Moving about within you, Is to be adored So then, outside of you, Lord, How can nonexistence be conceived of, Much less adored?

14 O Three-eyed One! Transcending speech and empirical knowledge, Let me, without obstacles, Behold only you, Lord, Everywhere, all the time, Even when emotionally agitated .*

15 Reveal, O Deva, your abode Vhere you ever reside with Parameśvarī. Those who abide Ir a midst of the dust of the Master's feet- Are :ach servants unreliable?

16 Even having come along On the path of seeing you, Why, my Lord, do you elude your servant?

• In other spiritual paths this realization is said to occur only during a state of equipoise.

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Twelfth Song

For what creature here on earth Do you not present yourself for a moment ?*

Inundated with the pure, 17 Endlessly flowing stream of nectar Of the supreme knowledge That all is one, When, O Lord, shall I realize absolute identification Between you and my physical form, And obtain neverending bliss?

So that I may become your worshiper, 18 Let me attain just the smallest share Of the essence of that insight Into how the world becomes bound up in misery.

Every moment, while beholding different objects, 19 Let me clearly see you and you alone, O Lord, As assuming the form of the whole universe.

Why does my mind not view 20 The various objects of my desire As not different from the limbs of your body? In so doing, it would not lose its nature And my highest desire would also be realized.

Hundreds indeed are those, O Lord, 21 Who through your inspiration While living the lives of average people Perceive just through these very eyes Your form ever before them.

Not a thought arises 22 That does not constitute your will. All acts, favorable or otherwise, Are always performed by the Lord himself. Thus abiding in you, I wander through the world

. Kșemarāja points out that in some form or another, Siva presents himself before every living thing. The servant, however, expects special consideration because of his closeness to the Master.

Twelfth Song

With nothing to frustrate the festival Of the worship of your spotless feet.

23 May insight into your mysterious language Dawn on me completely. May I develop such power That worshiping you incessantly Becomes a habit.

24 Let even my various worldly concerns Always appear to me thus: As part of you, and therefore not worthy In and of themselves.

25 While my mind wanders of its own inclinations Here and there in the range of the senses, Let me become in your worship, O Lord, An adept unwavering.

26 Through your will alone was I born your servant- Through no other force. Even then, why am I never blessed With the vision of your countenance? How strange!

27 Those who long for you intensely Discover you in every object. Oh, what spiritual path do they follow That has yielded them this fruit?

28 May all objects, Your Majesty, Appear to me as truly embodying your being. Let nothing else Mean a thing to me.

29 Whatever is not, Let that be nothing to me. Whatever is, Let that be something to me. In this way may it be

Twelfth Song

That you be found and worshiped by me In all states.

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The Thirteenth Song

In Summary ...

1 Hear in summary, O Lord, What defines my joy and my sorrow: Union with you is joyousness; Separation, deep agony.

2 There is, within me, The tiniest dark spot That keeps you hidden. Completely wiping away even that, Reveal, O Lord, your spotless form.

In whatever state of being- 3 Life, death, or anything else- May I worship you constantly In your imperishable body That embraces the whole world And consists of the bliss of eternal consciousness.

I am the Lord. I, indeed, am the Handsome One, The Learned One, the Fortunate. Who else is there in the world Like me? Such a splendid feeling Befits only your devotees.

5 Therefore with the consciousness Of the true essence of things That emanates from the removal of

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Thirteenth Song

The obstacles to the nectar of your nonduality, Make me worthy, O Lord of the Gods, Of the worship of your feet.

Let there be that great festival of worship 6 Where the Supreme Lord himself Is meditated upon, seen, and touched. Be always mine through your grace.

fhe realization of things as they really are 7 And the supreme festival of your worship- One is intertwined with the other, And they always blossom In those who are filled with devotion.

While incessantly drinking in through the senses 8 The heady wine of your worship From the overflowing goblets of all objects, Let madness overtake me.

Where not even a trace 9 Of otherness exists, Where self-luminosity is everywhere manifest, There, in your city, Let me reside Forever as your worshiper.

It is by your own will, O Supreme Lord, 10 That I hold a position as your servant. Why, then, am I not deserving to behold you Or even of the task of pressing your feet?

Lord, although it is fitting, 11 You never discriminate When bestowing grace. What has befallen me now that you delay In revealing a glimpse of yourself?

• In India pressing the feet is a type of massage typically reserved for a low member of the household hierarchy to perform on a high-ranking member (as a young child on a grandparent, or the youngest daughter-in-law on the family matriarch); it indicates subservience and respect.

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Thirteenth Song

12 Worshiping you with my own hands,* Let me behold you, together with Parameśvarī, Shining in all things exterior and interior, Ever filling the three worlds.

13 Having ascended to the Master's palace By sheer intent, Without obstruction, Let me always enjoy the sweetest bliss Of drinking the immortal wine of your grace.

14 That which bestows on all objects of beauty The property of giving wonder at the mere touch By that very principle do those endowed with Unwavering devotion Worship your form.

15 Being self-luminous You cause everything to shine; Delighting in your form You fill the universe with delight; Rocking with your own bliss You make the whole world dance with joy.

16 He who without hesitation Views all of this tangible world as your form, Having filled the universe With the form of his own self, Is eternally joyful. Why, then, the fear?

17 Even the deadly poison That rests in a corner of your throat, O Lord, Is supreme nectar to me. Nectar that is separate from your body, Even if easily accessible, Doesn't interest me.

• Kșemarāja notes that this implies the dedication of the individual self to the cosmic self; the "hands" refer to mudräs, or hand gestures, one of the "five distinguishing marks" (pañcalakșana) of Tantric worship.

Thirteenth Song

May my countenance be ever flushed with excitement 18 From talking and singing about you. And may I ever be blessed with the desire To perform your worship of love.

Oh, the ways of the Supreme Lord 19 Cannot be reckoned! He has presented me his own being, Bursting with sweet, immortal nectar, But yet does not allow me To drink.

Entering you, my own being, 20 The fathomless, the undifferentiated, The one without a second, Devouring all sense of (subject and) object, O Lord of Umā, Ever may I worship and sing praises of you.

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The Fourteenth Song

Song of Glorification

In the presence of my Master, Repository of the most magnificent wealth, Let me relish the nectar Of chanting glorifications again and again.

2 May you be glorified, the one Rudra, The one Siva, the Great God, The Great Lord, Beloved of Pārvatī, Firstborn of All the Gods.

3 May you be glorified, Lord of the Three Worlds, Bearing on your forehead the unique third eye. May you be glorified, who bear on your throat The mark of deadly poison, Having swallowed the afflictions of the afflicted.

4 May you be glorified, in whose hand glistens The sharp trident symbolic of the three powers .* May you be glorified, Whose most venerable lotus feet Can fulfill a desire the moment it arises.

5 May you be glorified, whose transcendental form Radiates manifold splendor. May you be glorified, whose forehead bears ashes And in a single tuft of whose hair Flows the stream of Gangā.

• The three powers are icchā (will, desire), jñāna (knowledge), and kriyā (action).

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Fourteenth Song

May you be glorified, anointed with moonlight 6 Reflected in the vast ocean of milk. May you be glorified, O Lord whose ornaments Are snakes dazzling with jewels Begotten at your touch.

May you be glorified, O worthy refuge 7. Of the only immortal crescent of the moon .* May you be glorified, ever consecrated As the lord of the universe With the waters of Gangā.

May you be glorified, the mere touch of whose feet 8 Has made sacred the entire bovine family. May you be glorified, who always appear At the gatherings of devotees.

May you be glorified, who through your own will 9 Deceive fools by assuming ascetic disguise. May you be glorified, who enjoy the deserved Propitious fortune of Gauri's embrace.

May you be glorified, who delight in offerings 10 Drenched in the sentiment of devotion. May you be glorified, pleased with the singing And dancing of devotees drunk on your wine.

May you be glorified, who bring about 11 The birth and death of the powers Of Brahmä and the other lords of the gods. May you be glorified, whose orders are carried out By the ranks of the lords of the universe.

May you be glorified, 12 Who have made manifest your grandeur By placing your signet On each and every thing in the world. May you be glorified, Great Lord,

• Kşemarāja notes that of the sixteen crescents of the moon, Siva has given refuge only to that of the new moon, which is called Ama. The new moon is thus, by its connection with Siva, considered immortal and is observed by Saivas as a sacred time.

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Fourteenth Song

Lord of the universe into which You have infused your own soul.

13 May you be glorified, who are without second When the will arises to create the three worlds. May you be glorified, whose only assistant is Devi, treasury of all of your powers.

14 May you be glorified, who permeate All the three worlds simultaneously. May you be glorified, whose sound, Iśvara, Is never despised, not even by fools.

15 May you be glorified, whose innate supremacy Depends neither on compassion nor other virtues. May you be glorified, whose unique, destructive powers Destroy even the Great Death .*

16 May you be glorified, unobstructed In bringing about universal annihilation. May you be glorified, the chanting of whose name Is followed by a thousand auspicious qualities.

17 May you be glorified, who without the slightest effort Gave away this ocean of nectar.t May you be glorified, a moment of whose wrath Sets the universe in flames.

18 May you be glorified, The only lamp for worldly beings Blinded by the darkness of delusion. May you be glorified, O Supreme Person, Ever awake in the midst of a sleeping world.

19 May you be glorified, a partridge warbling Within the mountain grove of my body.

• The Great Death represents time (kāla), that is, mortality. t This refers to the story of Upamanyu, who was a child so poor that he had to drink rice water instead of milk; nonetheless he trusted in Siva despite all hardships. Pleased with such steadfast devotion, Siva bestowed on the child the whole cosmic ocean of churning milk.

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Fourteenth Song

May you be glorified, most excellent swan Gliding through the skies Of the minds of devotees.

May you be glorified, lord of the 20 Mountain of gold and other precious metals. May you be glorified, an inauspicious moon That descends like a meteor Upon those who defy you .*

May you be glorified, difficult of attainment 21 For ascetics and gods pained by harsh austerities. May you be glorified, easily attainable By the community of devotees in every state.

May you be glorified, who have 22 Made worthy of a stream of fortunes Those who seek refuge in you. May you be glorified, whose only purpose Is to lovingly care for Those who have come to you.

May you be glorified, outstanding 23 As the one causative factor in the creation, Preservation, and destruction of the world. May you be glorified, O great joy of Utpala, Whose work is rendered as sheer delight Through the madness of devotion.

May you be glorified, O Worthy of Devotion! 24 May you be glorified, Conqueror of birth, old age, and death. May you be glorified, O World Patriarch! Glory, glory, glory, glory, Glory, glory, glory, glory, Glory, glory, glory, glory, Glory, O Three-eyed Lord!

• That is, for those who are not your devotees, even the moon, which represents auspiciousness itself, becomes inauspicious; thus it becomes like a meteor, a destructive, rather than auspicious, celestial entity.

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The Fifteenth Song

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About Devotion

1 There are scriptures that can cleanse a person Of the three impurities .* And there are those yogins and pandits Who have mastered these scriptures. But the only ones truly equipoised Are those devoted to you.

2 Well satisfied with the food Of kāla, niyati, rāga, and The other coverings of māyā,t · The devotees wander joyfully, O Lord, Along the shores of the world.

3 Whether weeping or laughing, they address you In loud, delirious speech. Uttering hymns of praise, the devoted Are truly unique attendants.

4 My wish is to be neither an ascetic Indifferent to the world Nor a manipulator of supernatural powers Nor even a worshiper craving liberation- But only to become drunk On the abundant wine of devotion.

• The three "impurities" (malas) are āņava, māyīya, and kārma. There are five "coverings" (kañcukas) of māyā: kāla (time), niyati (pervasiveness of space), rāga (enjoyment), vidyā (knowledge), and kalā (authorship).

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Fifteenth Song

I bow to him who, 5 Drawing the outside world into his heart, Worships you, O Lord, With streams of the nectar of devotion.

Amidst righteousness and unrighteousness, 6 Amidst works and knowledge, Amidst prosperity and hardship, Your devotees, in the face of all this, Enjoy the bliss of your devotion.

O Master, father of the mobile and immobile, 7 Even the blind and the leprous Look exceedingly graceful When adorned with your supreme devotion.

O Lord, those who are filled 8 With the great warmth of devotion, Although pale in body, And having husks of grain as a bed And as clothing the feathers of birds, Dominate even over the Lord of Wealth .*

As they ascend to you 9 Rolling, immersed in the nectar of your devotion, A few, O Lord, worship you With their whole being Through their hearts.

O Lord, it is worthy of 10 Protection, support, and high esteem This great wealth of your devotion, Which removes the troubles of the world.

Although your community of devotees, Lord, 11 Is passionately attached to you,

The Lord of Wealth is Kubera, himself a great devotee of Siva.

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Fifteenth Song

May Svaminī, leaving envy behind. Be ever pleased with them .*

12 Once there is devotion to you, Union with you is certain. Once a large pitcher of milk has been obtained, Vain is a concern about yogurt.t

13 Is this not an unparalleled siddhi; Does it not cause supreme bliss to flow ?- This increasing devotion to Sambhu That becomes everlasting.

.14 Alas, submerged in my darkened mind The exquisite jewel of your devotion Does not manifest the innate, sublime Flashes of its own splendor.

15 Devotion to you, Master of the Three Worlds, Is indeed the supreme siddhi. But without anima and the other powers, Even that, O Lord, is not perfect. This is my anguish.

16 Emitting the sweet fragrance of Siva flowers, Which blossom within and without, The yogins perfume even those of ill habits Who come into their presence.t

• In a playful mood, Utpala entreats Siva's wife not to be jealous of the passionate relationship between her husband and his devotees, who are here referred to as a feminine entity, janatā ("community"). t That is, all one needs to produce yogurt is enough milk, and similarly, the "recipe" for union with Siva is an ample supply of devotion. The added implication is of an initial spark, or something obtained in the way of divine grace, necessary to initiate the process, just as yogurt requires an initial starter culture. $ The notion that highly attained beings emit a sweet fragrance is well known. Siva flowers (tryambakastavaka) are the fragrant blossoms of a plant of the nightshade family known in Sanskrit as dhattūra and in Latin as Datura alba; with its poisonous and narcotic qualities and white blossoms, the plant is identified with Siva and is used in his worship. Thus, in this verse the yogins also emit the essence of Siva himself.

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Fifteenth Song

Where not even the notion of light exists, 17 Where the whole world remains asleep, There, in that state of ivarātri,* The devotees, without pause, O Lord, Honor you in worship.

Let sattva shine forth in the worship of Siva, 18 Lord of the True Qualities. Let heaps of dust from Lord Sankara's feet Shine as rajas on my head. Let tamas flourish and completely destroy The impressions of memory and the other attachments. Thus, Lord, may the three gunas as a unit Merge together with your being.t

Endless is the cycle of birth and death. 19 These slender limbs are consumed By diseases harsh and diverse. I have derived no real enjoyment From pleasures of the senses. What happiness encountered was not long lasting. Thus, my existence has become useless. Grant me, O Lord, Those sublime and everlasting treasures So that I may become your devotee With my head illumined by touching the feet Of the One adorned with the moon.

• Sivarātri ("Night of Siva") is a pan-Indian festival celebrated on the thirteenth day of the dark fortnight of the lunar month Phalguna. Here, Utpala transforms the external festival into an internal celebration of transcendental union. t The three gunas ("qualities") are sattva (equanimity, lightness), rajas (energy, redness), and tamas (slothfulness, darkness). In various combinations they characterize human personality and inclination. The full workings of the gunas together indicate immersion in the world of samsāra. Other Indian systems advocate withdrawing from the gunas, at least those of tamas and rajas, but Utpala sees the merit in each of these qualities not only to be incorporated into the spiritual quest, but indeed to strengthen it. This is done by dedicating one's whole, complex personality to Siva, and asking that he take the gunas into himself for the proper transformation.

The Sixteenth Song

Breaking out of the Fetters

What indeed is there in the world 1 That does not conceal you? Yet nothing exists that can conceal You from the devotees.

2 Attained by so many disciples And with so many attributes You appear at all times to the devotees In your true form, O Lord. .

3 Triumphant, they laugh, And vanquished, they laugh even more- Those select few who are maddened With the immortal wine of your devotion.

4 Let me delight in the sweet, sublime Bliss of your devotion, Leaving behind not only base powers, But liberation itself.

5 In the same way that it arose in me, Allow this love of devotion Previously unknown to me To grow greater still, O Lord.

6 Truly, I have no other entreaty but this: Let me for all time, O Lord, Be consumed with unending devotion.

Sixteenth Song

Let me be enraged and yet 7 Compassionate toward the world. And thus in the madness of devotion May I laugh and weep and chant Śiva, thunderously.

Under the spell of devotion, O Lord, 8 Let me be inconstant yet at peace, Mournful yet laughing, Distracted yet aware.

Whether within or without, 9 Your devotees know you As the embodiment of consciousness.

Though pretending to listen 10 To the words of blasphemers, And with needle-like sensations prickling the skin, Enraptured still are the devotees With drops of delicious nectar.

However painful a sensation, 11 It is transformed into a means of enjoyment For devotees whose consciousness Is suffused with the moonlight nectar .*

Living in whatever state, 12 The devotees enjoy-both within and without- The sublime bliss Of the touch of your being.

A chosen few, O Lord, surpass 13 Plaintiveness when worshiping you, And enjoy your spotless, immortal form.

The knowers of śāstras become deluded 14 And thus become estranged: Indeed, delusion produces estrangement.

The moonlight nectar is the bliss emanating from Parāśakti.

on

Sixteenth Song

But you appear for devotees As the one, unrivaled truth.

15 How can he be like other people- The devotee with mind made pure By exhausting fame and infamy, Attachment and aversion?

16 What position do the followers Of the path of knowledge Hold over these great souls Who have vanquished the gloom of attachment and aversion With the bright light of your devotion?

17 Whose worship consists Of bathing in and drinking of The nectar of devotion Finds rest in the transcendental peace Of the first, middle, and last stages.

18 You alone are the subject Of their songs and speculations, You, the subject of their quests and their worship. Laudable, then, is the devotee's pilgrimage of life Lived in harmony with you.

19 What is called liberation Is simply the ripeness of devotion, O Lord. Having taken the first steps toward that, We are even now almost liberated.

With my mind spilling over with your devotion, Let any difficulty come my way. But should I feel separate from you, I would not want Even an endless chain of happiness.

21 You are pleased, O Lord, with devotion. And devotion arises at your will. You alone understand How these are connected.

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Sixteenth Song

Having a form or formless, 22 Within or without, In every way, O Lord, You are the embodiment of immortality For those who are drunk with your devotion.

Here in this world 23 Another world exists That bears as fruit joyousness For your devotees.

May there be devotion to you 24 As the Secret One, as the Transcendent One, As Lord of the Universe, As Śambhu, as Siva, As the Celestial One. Ah, how indeed could I ever express it?

Devotion, devotion, devotion 25 To the Transcendent One. Ardent devotion! This is why I cry and clamor! Let me have ardent devotion for you, Only you.

You are the fountainhead, O Lord, 26 Of everything beautiful. All things become precious at your touch, Whether gem or piece of straw.

Not separating themselves from you 27 When experiencing, through the senses, The subject and object- They indeed are your true devotees.

Some, O Lord, embrace you 28 Outside of world society. Others forego all the rules, And through the warmth of devotion Embrace you in the midst of the world.

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Sixteenth Song

29 I honor Siva, who During the festival of the world's dissolution Is passionately and intensely held by Śivā,* Through whom the whole universe is enjoyed By means of drinking, eating, and embellishments.

30 O Lord of the Universe, Glorious is your sovereignty! Similarly glorious is your other state, Where the world appears Not as it appears here and now.

• Śivā is the feminine aspect of Siva, that is, his śakti. Here she is personified as his consort Pärvati, and represents the manifestation of the natural world (prakrti).

The Seventeenth Song

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A High Regard for Divine Amusements

'1 Ah, most glorious Is this blissful festival of worship From which spring tears Of the sweet nectar of immortality.

All actions connected with your worship 2 Will promote siddhis. But for your devotees Who are already one with you, These actions are siddhis in and of themselves.

Those who in every state worship you always 3 As having assumed the form of all things- They indeed Are my chosen deities.

The siddha* leaves behind the effort of meditation, 4 For all of his joy is obtained from your touch. That, O Lord, for the devotees Comprises an act of worship.

The time of the equinox, 5 Whose essence is equanimity, Is celebrated by the devotees continuously: For always does their worship consist Of the sweet bliss of your devotion.

• A siddha (literally, "perfected one") is one who has attained the highest realization of Siva-consciousness.

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Seventeenth Song

6 Without a beginning, without an end, And unlimited by time -- This is the essence of worship, O Lord, Performed only by devotees.

7 They are the lords Even over Brahmā and the other gods, And they are the recipients of auspiciousness Those in whom the festival of worship Stays constant even while dreaming And indeed even in dreamless sleep.

8 Devotees celebrate the festival of worship Not only while performing japa, Pouring oblations into the fire, Bathing, or meditating -- But in all states.

Who among the leading gods- 9 Indra, Brahmā, and the others- And even among ascetics, Is equal to the one who enjoys The sweet nectar of your worship?

10 In the great festival of your worship The devotees attain the attainable: The sole cause of the world's annihilation. This they understand indeed .*

11 Resting in the brilliance of your consciousness, May I ever worship you, O Lord, By means of body, speech, and mind, The products of the thirty-six tattvas.t

12 Contented, enjoying attachment to your worship, May all of my time become endless.

• That is, ordinary people have insight neither into the worship of Siva nor his true indentity. A tattva (literally, "thatness") is a category of manifestation. Kashmir Śaiva philosophies recognize thirty-six tattvas; Samkhya, by comparison, admits twenty- five. For further discussion, see the introduction.

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Seventeenth Song

Only for this Is it that I pray.

May my yearning for the enjoyment 13 Of the immortal bliss of your worship Grow greater each day, Ever yielding a bounteous harvest.

In your ocean brimming over 14 With the immortal bliss of unity Cast outward at the dissolution of the universe, May I there remain, O Great Soul, ever adoring you.

Having become pure and uncomplicated 15 By cutting through the knots of latent desires, The devotees can finally dedicate their minds To the sweet act of your worship. -...-.---. Even while resting on their objects 16 The faculties of these senses provide The devotees with the immortal wine Essential to your worship, O Lord.

For devotees irresistably inflamed 17 With the burning heat of ardent devotion, What other means of extinguishment* are needed Than plunging into the nectar of your worship?

May I experience the endless joy, O Lord, 18 Of drinking the nectar of the worship of your feet: The only means to receive your grace.

In every action, at all times 19 Let me enjoy the supreme bliss Of intoxication from the immortal wine Resulting from your worship, O Lord.

• The word used here for "extinguishment" is nirvāna, which is used, of course, in a technical sense to denote spiritual emancipation. Thus both the desire and the quenching are brought about by and are found in Siva.

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Seventeenth Song

20 To the devotees The meaning of the supreme endeavor of your worship Is quite obvious. They experience from it A joy beyond all expectation.

21 In my opinion, Not even a trace of the wealth of joy Is attained until one experiences The great festival of your worship.

22 Immersed in worship, the devotees find themselves Deep within your being Without effort, without concern For any accessories.

23 Nothing remains for them to achieve, Nothing is difficult for them to obtain: The devotees wander the earth without purpose, Drunk only with the joy of worshiping you.

24 Whose consciousness is expanded With intense devotion Has a unique, praiseworthy style of worship Unsullied by entreaties, O Granter of Boons.

25 What beauty, what delight, What other wealth, Or what other liberation Does not exist Where is worshiped the Transcendent Lord?

26 Nourished by the nectar Of pure devotion rippling within, Let my body become fit for your worship.

27 O Mighty One! Lord of the Worlds! Although my actions are uniquely unfettered, I would become unfettered If indeed it were required To enjoy your worship.

96

Seventeenth Song

Those few who while meditating 28 Thirst for your vision and your touch Receive the cool, sweet, Deep lake of your worship.

Just as you 29 Are the only object of delightful worship In this world, O Lord, So also is the devotee A deserving object of delightful worship.

O Master! How glorious 30 Is your great festival of worship, Which reduces to ashes Even the thirty-six tattvas.

Praised be those, O Lord, 31 Whose water of immortal devotion Makes worthy of worship Even the materials of your ceremony.

Having begun to meditate on you with a mantra, 32 Certain of your devotees, O Lord, Even in their transcendental beings Cannot contain their ecstacy.

Rejoicing as if they had been made kings, 33 Certain of your devotees in the festival of worship Pour out the wine of immortality Everywhere throughout the world.

Those chosen few whose pleasures entail 34 The endless imbibing of the nectar of your worship- Are they gods, or liberated beings, Or are they something else, O Lord?

Absorbing the universe into themselves 35 As the materials of worship,

97

Seventeenth Song

How immeasurably heavy-and yet how light- Become the devotees !*

36 For devotees, the agitation Caused by the projection of the senses When performing worship Is indeed the source of immortality Just as the agitation of the ocean of milk Was for the gods.

37 Some consider worship as the wish-granting cow That gratifies all desires, But others, turning inward, Drink a milk sweeter than streams of nectar.

38 Even the projection of senses Known as this world Fosters the initiation of the devotees Into the supreme unearthly festival of worship.

39 In the heat of intense devotion, O Lord, Worshiping you as my true self Does not cause me to be plaintive; It is, rather, the highest fruit of plaintiveness.

40 Some consider worship only as a means Of striving for your state. But for devotees It is a process- During which one enjoys The sweet bliss of union with you.

41 Although unconventional, the worship Of those who have become free Through delirious devotion- What a sublime end it reaches!

42 O Śambhu, you alone Are the true, wondrous object of worship

• The powers of becoming infinitely heavy (garimā) and infinitely light (laghimā) are two of the eight siddhis.

98

Seventeenth Song

That emanates from hearts stunned By tasting the sweet nectar of devotion.

Master, while engaging in your worship 43 Let my senses become full, pure, devoted, And strong.

Immersed in your worship, O Lord, 44 The absolute treasure of all worship, Oh, what unearthly splendor Radiates from the senses.

Such humility 45 Is truly seen only in you, O Master, who, even though lord of the universe, Are worshiped by servants And are obtained.

Whether out of the concrete or the abstract, 46 Out of existence or nonexistence, May the great festival of your worship Ever radiate in me, Who have been made worthy of praise.

Adoration to those who, having offered up 47 All of their desires, anger, and pride, Perform your worship incessantly. With them are you truly pleased!

Most glorious 48 Is this path of worship through devotion, Which, though performed with pieces of straw, Is accomplished indeed with jewels.

99

The Eighteenth Song

Becoming Clear

O Lord of the Universe! 1 Only your devotees, having discovered you From within the universe Again find the universe as within you, For nothing in the world is beyond their reach.

2 You dominate one state; Another is dominated by Bhavānī,* Pregnant with all of material creation. Ultimately, there is no difference Between Devi, the three worlds, and you.

3 People given to vanity Do not understand the essence of beauty, Or indeed that the essence of everything That exists is beautiful. Alas, the mind, although eager, even then Does not realize the essence of the self. Alas, I am lost!

4 I bow to him who, having made his dwelling In his own self, consisting of your essence, Abounds with the wealth of the worship of your feet Heedless of food, heedless of cover.

• Bhavāni is Siva's consort in her mild, benevolent form as Pārvatī, or the mother of the whole universe and all that exists.

100

Eighteenth Song

This world, though dwelling comfortably 5 Within your body, Is burning within. Through your own will Grant that here and now I may be filled with the bliss of worshiping you.

With mind taken with drinking the nectar 6 Of worshiping spontaneously The pair of your lotus feet, Let me become a pilgrim of the world Encountering in the accumulation of things Only bliss.

With you, O Lord, shining clearly 7 In all worldly transactions, Let all things appear to me As constantly coming and going.

Let me forever wander about 8 Only within you, Or as one with you. Let there not be a moment When I am not glorified as being one with you.

Rich with your worship, 9 Your devotees frolic In this ocean of the world Brimming with the cool nectar That flows from your limbs.

In the vast forest of your worship, 10 O Lord, may I, your devotee, Forever rest in the cool shade Beneath the tree of Supreme Sound.

O Lord! Appear before me 11 Adorned with your three eyes And trident Just as to all beings

101

Eighteenth Song

You appear in all things As light.

12 I have dedicated my ego to you As an offering of devotion. When will you be pleased enough To become everywhere The object of my sight?

13 Dwelling in the ocean of supreme bliss, With mind absorbed only in your worship, Let me engage in worldly affairs, Relishing the ineffable at the same time.

14 All that is here in this world is yours. Who could even begin to explain its essence? Even so, your name, form, and movements Captivate my heart, O Captivator as you are !*

15 Those who are filled with devotion Have not the slightest craving For happiness as a means to attaining peace. In the presence of the Heart-captivator, They do not even remember to pray For liberation.

16 Wakefulness, dreaming, or deep sleep- Whatever the state- When those who are worthy of devotion Turn their attention toward you, All this becomes a great festival.

17 The modifications of the senses, Including the mind, Have such an inconstant nature! How does one

• Hara, an epithet of Siva, denotes a variety of related meanings ranging from Captivator to Raptor to Annihilator, and so forth.

102

Eighteenth Song

Who is radiant with the wealth of devotion Make them become steady, firm, and wise, O Lord?

Nothing that you created is distinct from you, 18 And nothing that you created is other than bliss. Yet all is sorrow and disharmony. May you be glorified, O Abode of unique bewilderment!

The impurity of differentiation 19 Having been washed away by the brimming nectar Filling the abyss of obscuration, And having trampled doubt, the invincible enemy, Let me have your vision endlessly.

O Lord, inspire my whole being 20 So that I may be attached to you always, And having come extremely close, Let me worship you intently In your true form.

No one at all is competent to praise you. 21 Who could ever begin to speak of your beauty? But my prayer is always this- That I may ever behold the Lord.

The Nineteenth Song

The Meaning Revealed

Beyond the range of prayer - Is the bestower of wondrous fruit, The One of unparalleled behavior, The wishing tree of heaven- May Śiva be glorified!

2 Everything in the world is obtained from you, The single source of the multitude of objects. Still, to me you do not reveal Your being as my own self- It remains afar.

The reality behind everything 3 Is the conscious being Who consists of the powers of knowledge and action, The Great Lord. Otherwise, not even a name would be possible, Let alone anything else.

4 O Lord, set me on the path That destroys dreådful suffering And leads toward your recognition. Let me as a result Attain the state of merging with you.

5 When shall spiritual perfection Bejewelled with the memory of your spotless feet Come from you to me, Causing awe in the hearts of perfected beings?

104

Nineteenth Song

O Lord, when shall I behold 6 Your flawless countenance Emitting floods of nectar Drowning the whole world?

When, O Lord, shall your form, 7 Which appears only in a moment of recollection, Fill with sublime nectar The deep abysses that keep me from you?

Intent on the experience of your sublime nectar, 8 My mind still is not free of unsteadiness. When will this happen, O Lord? Oh, may it be soon!

Let me experience 9 All pairs of opposites Not as dry and lacking the nectar Of the bliss of your union, But as dedicated to you.

O Lord! Let your spotless rays 10 Shine before me, face to face, So that the darkness of physical and mental torments Be completely dispelled.

O Celestial One, grant that I may overcome 11 The enemies along your path, The sense-thieves Who conceal the highest reality.

Soon, O Mighty One, fill my mind 12 With floods of the nectar of your devotion So that these vain desires be completely submerged And swept away.

Why is it, O Unborn One, 13 That your devotion does not shine In the state of liberation To one still bearing mortal characteristics?

Nineteenth Song

Therefore raise me to a state of perfection Befitting me as I am.

14 Let me not become proud, O Lord, In the attainment of mere siddhis. For the radiance of anima and the other powers, And even of liberation itself, Is but scant in the face of your devotion.

15 Just this much I pray: That the Lord be pleased with me, his servant, Who could never begin to understand All that has been given By the Lord of the Three Worlds.

16 In the lake of my mind, spilling over With the bliss of the memory of your form, May the lotuses of the pair of your feet Ever bloom, effusing Nectar most delicious and sublime.

17 This, the Lord, Tryambaka, Is my father And Bhavani is my mother. To me there is no second in the world. With this realization May I wander in the highest ecstacy.

1

106

The Twentieth Song

The Meaning Savored

I bow to the Master, Lord of the Three Worlds, White with ashes, three-eyed, Bearing the serpent as sacred thread And crescent moon as diadem.

Homage to the one wearing as raiment 2 His own lustrous halo of radiant beams, Bedecked with a glittering garland of skulls For the festival of dance at.the end of the world.

I bow to the eternally sacred abodes, 3 Whose deity is Hara, Whose activities are worthy of Hara, And whose very breath of life is dedicated Only to Hara.

Beyond your lordship is yet another 4 One of your amusements- That is, by sheer will I find Spontaneous means to your glorious acts.

When the whole universe 5 Honors just this much of your splendor- The mere play in the world- How infinite indeed Must be your bliss!

How can one not be beatified 6 Who is loved by Gauri's Hara?

Twentieth Song

And how can Hara not be The supreme beloved of Gaurī?

7 Just as the roots of that sacred tree Lie in sublime and everlasting recognition, So too are formed its branches of sense perception.

8 When the itch for devotion flares up Worship comes into being As a great pillar of smearing-stone.

9 Glory to the Master, 9 Whose recreation is the act of creation, Who delights in preservation, And who rests contentedly, Satisfied with the meal of the three worlds.

10 I bow to them, who, Going nowhere and renouncing nothing, Yet view all this as your glorious abode.

11 What else remains to be desired By those rolling in the wealth of devotion? For those deprived of it, What else is worthy of desire?

12 Where even agonies transform into pleasure And poison into nectar, Where the world itself becomes liberation, That is the path of Sankara.

13 In the beginning, the middle, or the final stages, There is no pain for your devotees, O Lord. Still, we are suffering. What is this? Tell me!

14 O Lord, some seek your realization Through knowledge, through yoga, Or through other disciplines. But this realization shines forth constantly Only to the self-willed devotees.

108

Twentieth Song

There is no plaintiveness for devotees 15 Nor any worry, For their own self is identical with you. Even then, in the external state The indescribable word O Śiva is on their lips.

O Lord, I praise your Kriya Sakti, 16 Light of all lights, Filled with universal consciousness as "I am all this."

O Celestial One, all beings, 17 Including Brahmā, Indra, and Vișņu, View their objects as food. Therefore, I glorify the universe As consisting only of you.

Because being and nonbeing are relative, 18 Everything apart from me is unreal. This alone is the significance Of your play of dissolution, O Lord.

By mere recognition, O Granter of Boons, 19 Does your transcendental form emerge Before those rolling in the wealth of devotion. And thus do they conquer all causes of pain.

As though saturated with the wine 20 Of the nectar of devotion, With vital organs radiating with delight, The adventurous ones dance through the night With Siva's attendants, a party of ghosts.

With the same devotional mood 21 In which I began these hymns, May I, O Sambhu, grow ever more secure.

om

109

Sanskrit Text of the Śivastotrāvalī

The First Song

.

Bhaktivilāsākhyam prathamam stotram

om

na dhyāyato na japataḥ syādyasyāvidhipūrvakam 1 evameva śivabhāsastaņ numo bhaktiśālinam

ātmā mama bhavadbhaktisudhāpānayuvā'pi san 2 lokayātrārajorāgātpalitairiva dhūsaraḥ

labdhatatsampadām bhaktimatām tvatpuravāsinām samcāro lokamārge'pi syāttayaiva vijrmbhayā

sākşādbhavanmaye nātha sarvasmin bhuvanāntare 4 kim na bhaktimatām kşetram mantraḥ kvaișām na siddhyati

jayanti bhaktipīyūșarasāsavavaronmadāḥ advitīyā api sadā tvaddvitīyā api prabho

anantānandasindhoste nātha tattvam vidanti te tādṛśa eva ye sāndrabhaktyānandarasāplutāḥ

tvamevātmeśa sarvasya sarvaścātmani rāgavān 7 iti svabhāvasiddhāms tvadbhaktiņ jānañjayejjanaḥ

nātha vedyakşaye kena na drśyo'syekakah sthitaḥ 8 vedyavedakasamkşobhe'pyasi bhaktaiḥ sudarśana

anantănandasarasī devī priyatamā yathā 9 aviyuktāsti te tadvadekā tvadbhaktirastu me

111

First Song

10 sarva eva bhavallābhaheturbhaktimatām vibho samvinmārgo'yamāhlādaduhkhamohaistridhā sthitaḥ

11 bhavadbhaktyamņtāsvādādbodhasya syātparāpi yā daśā sā mām prati svāminnāsavasyeva šuktatā

12 bhavadbhaktimahāvidyā yeşāmabhyāsamāgatā vidyāvidyobhayasyāpi tā ete tattvavedinaḥ

13 āmulādvāglatā seyam kramavisphāraśālinī tvadbhaktisudhayā siktā tadrasādhyaphalāstu me

14 śivo bhūtvā yajeteti bhakto bhūtveti kathyate tvameva hi vapuḥ sāram bhaktairadvayaśodhitam

15 bhaktānām bhavadadvaitasiddhyai kā nopapattayaḥ tadasiddhyai nikrşțānām kāni nāvaraņāni vā

16 kadācitkvāpi labhyo'si yogenetīša vañcanā anyathā sarvakakşyāsu bhāsi bhaktimatām katham

17 pratyāhārādyasamsprsto višeşo sti mahānayam yogibhyo bhaktibhājām yadvyutthāne'pi samāhitāḥ

18 na yogo na tapo nārcākramaḥ ko'pi pranīyate amāye śivamārge'smin bhaktirekā praśasyate

9 sarvato vilasadbhaktitejodhvastāvrtermama pratyakşasarvabhāvasya cintānāmapi naśyatu

20 śiva ityekaśabdasya jihvāgre tisthataḥ sadā samastavişayāsvādo bhakteșvevāsti ko'pyaho

21 śāntakallolaśītacchasvādubhaktisudhāmbudhau alaukikarasāsvāde susthaiņ ko'nāma gaņyate

22 sādrśaih kim na carvyeta bhavadbhaktimahauşadhiḥ tādrśī bhagavanyasyā mokşākhyo'nantaro rasaḥ

23 tā eva paramarthyante sampadaḥ sadbhirīśa yāḥ tvadbhaktirasasambhogavisrambhaparipoșikāḥ

112

First Song

bhavadbhaktisudhāsārastaiḥ kimapyupalakșitaḥ 24 ye na rāgādi panke'smimllipyante patitā api

aņimādişu mokşānteșvangeșveva phalābhidhā 25 bhavadbhaktervipakvāyā latāyā iva keșucit

citram nisargato nātha duḥkhabījamidam manaḥ 26 tvadbhaktirasasamsiktam niḥśreyasamahāphalam

112

The Second Song

Sarvātmaparibhāvanākhyam dvitīyam stotram

agnīşomaravibrahmavişņusthāvarajangama 1 svarūpa bahurūpāya namaḥ samvinmayāya te

2 viśvendhanamahākşārānulepaśucivarcase mahānalāya bhavate viśvaikahavișe namaḥ

paramāmṛtasāndrāya śītalāya śivāgnaye 3 kasmaicidviśvasamploşavişamāya namo'stu te

4 mahādevāya rudrāya śankarāya śivāya te maheśvarāyāpi namaḥ kasmaicinmantramūrtaye

namo nikrttaniḥśoşatrailokyavigaladvasā- vasekavişamāyāpi mangalāya śivāgnaye

6 samastalakşanāyoga eva yasyopalakşaņam tasmai namo'stu devāya kasmaicidapi śambhave

7 vedāgamaviruddhāya vedāgamavidhāyine vedāgamasatattvāya guhyāya svāmine namaḥ

samsāraikanimittāya samsāraikavirodhine namaḥ samsārarūpāya niņsamsārāya śambhave

9 mūlāya madhyāyāgrāya mūlamadhyāgramūrtaye kşīnāgramadhyamūlāya namaḥ pūrņāya śambhave

114

Second Song

namaḥ sukrtasambharavipākaḥ sakrdapyasau 10 yasya nāmagrahaḥ tasmai durlabhāya śivāya te

namaścarācarākāraparetanicayaiḥ sadā 11 krīdate tubhyamekasmai cinmayāya kapāline

māyāvine višuddhāya guhyāya prakațātmane 12 sūkșmāya višvarūpāya namašcitrāya śambhave

brahmendravişņunirvyūdhajagatsamhārakelaye 13 āścaryakaraņīyāya namaste sarvaśaktaye

tațeșveva paribhrāntaiḥ labdhāstāstā vibhūtayaḥ 14 yasya tasmai namastubhyamagādhaharasindhave

māyāmayajagatsāndrapankamadhyādhivāsine 15 alepāya namaḥ śambhuśatapatrāya śobhine

mangalāya pavitrāya nidhaye bhūșaņātmane 16 priyāya paramārthāya sarvotkrsțāya te namaḥ

namaḥ satatabaddhāya nityanirmuktibhāgine 17 bandhamokşavihīnāya kasmaicidapi śambhave

upahāsaikasāre'sminnetāvati jagattraye 18 tubhyamevādvitīyāya namo nityasukhāsine

dakşiņācārasārāya vāmācārābhilāșiņe 19 sarvācārāya šarvāya nirācārāya te namaḥ

yathā tathāpi yah pūjyo yatratatrāpi yo'rcitaḥ 20 yo'pi vā so'pi vā yo'sau devastasmai namo'stu te

mumukşujanasevyāya sarvasantāpahāriņe 21 namo vitatalāvaņyavarāya varadāya te

sadā nirantarānandarasanirbharitākhila- 22 trilokāya namastubhyam svāmine nityparvaņe

sukhapradhānasamvedyasambhogairbhajate ca yat 23 tvāmeva tasmai ghorāya śaktivņndāya te namaḥ

115

Second Song

24 munīnāmapyavijñeyam bhaktisambandhaceșțitāḥ älingantyapi yam tasmai kasmaicidbhavate namaḥ

25 paramāmrtakośāya paramāmņtarāśaye sarvapāramyapāramyaprāpyāya bhavate namaḥ

26 mahāmantramayam naumi rūpam te svacchaśītalam apūrvamodasubhagam parāmrtarasolvaņam

27 svātantryāmrtapūrņatvadaikyakhyātimahāpațe citram nāstyeva yatreśa tannaumi tava śāsanam

28 sarvāśańkāsaniņ sarvālakşmīkālānalam tathā sarvāmangalyakalpāntam mārgam māheśvaram numaḥ

29 jaya deva namo namo'stu te sakalam viśvamidam tavāśritam jagatām parameśvaro bhavān paramekaḥ śaraņāgato'smi te

116

The Third Song

.

Praņayaprasādākhyam trtīyam stotram

sadasattvena bhāvānām yuktā yā dvitayī gatiḥ 1 tāmullanghya trtīyasmai namaścitrāya śambhave

āsurarşijanādasminnasvatantre jagattraye 2 svatantrāste svatantrasya ye tavaivānujīvina

aśeaviśvakhacitabhavadvapuranusmrti 3 yeşām bhavarujāmekam bheşajam te sukhāsinaḥ

sitātapatram yasyenduḥ svaprabhāparipūritaḥ 4 cāmaram svardhunīsrotah sa ekaḥ parameśvaraḥ

prakāśām śītalāmekām śuddhām śaśikalāmiva 5 drśam vitara me nātha kāmapyamrtavāhinīm

tvaccidānandajaladheścyutāḥ samvittivipruşaḥ 6 imāḥ katham me bhagavannāmrtāsvādasundarāḥ

. tvayi rāgarase nātha na magnam hrdayam prabho 7 yeşāmahrdayā eva te'vajñaspadamīdrśāh

prabhuņā bhavatā yasya jātam hrdayamelanam 8 prābhavīņām vibhūtīnām paramekaḥ sa bhājanam

harşāņāmatha śokānām sarveşām plāvakah samam 9 bhavaddhyānāmrtāpūro nimnāņimnabhuvāmiva

keva na syādrśā teşām sukhasambhāranirbharā 10 yeşāmātmādhikeneśa na kvāpi virahastvayā

117

Third Song

11 garjāmi bata nrtyāmi pūrņā mama manorathāḥ svāmī mamaișa ghațito yattvamatyantarocanaḥ

12 nānyadvedyam kriyā yatra nānyo yogo vidā ca yat jñānam syāt kintu viśvaikapūrņā cittvam vijrmbhate

13 durjayānāmanantānām duņkhānām sahasaiva te hastātpalāyitā yeşām vāci śaśvacchivadhvaniḥ

14 uttamaḥ puruşo'nyo'sti yuşmaccheșavišeșitaḥ tvam mahāpuruşastveko niḥśeşapuruşāśraya

15 jayanti te jagadvandyā dāsāste jagatām vibho saņsārārņava evaișa yeşām krīdāmahāsaraḥ

16 āsatām tāvadanyāni dainyānīha bhavajjușām tvameva prakațībhūyā ityanenaiva lajjyate

17 matparam nāsti tatrāpi jāpako'smi tadaikyataḥ tattvena japa ityakşamālayā diśasi kvacit

18 sato'vaśyam paramasatsacca tasmātparam prabho tvam cāsatassataścānyastenāsi sadasanmayaḥ

19 sahasrasūryakiraņādhikaśuddhaprakāśavān api tvam sarvabhuvanavyāpako'pi na drśyase

20 jade jagati cidrūpaḥ kila vedye'pi vedakaḥ vibhurmite ca yenāsi tena sarvottamo bhavān

21 alamākranditairanyairiyadeva puraḥ prabhoḥ tīvram viraumi yannātha muhyāmyevam vidannapi

118

The Fourth Song

Surasodbalākhyām caturtham stotram

capalam asi yadapi mānasa 1 tatrāpi ślāghyase yato bhajase śaraņānāmapi śaraņam tribhuvanagurumambikākāntam

ullanghya vividhadaivata- 2 2 sopānakramamupeyaśivacaraņān āśrityāpyadharatarām bhūmiņ nādyāpi citramujjhāmi

prakațaya nijamadhvānam 3 sthagayatarāmakhilalokacaritāni yāvadbhavāmi bhagavam- stava sapadi sadodito dāsaḥ

śiva śiva śambho śańkara 4 śaraņāgatavatsalāśu kuru karuņām tava caraņakamalayugala- smaraņaparasya hi sampado'dūre

tāvakānghrikamalāsanalīnā 5 ye yathāruci jagadracayanti te viriñcimadhikāramalenā- liptamasvavaśamīśa hasanti

tvatprakāśavapuşo na vibhinnam 6 kimcana prabhavati pratibhātum tatsadaiva bhagavan parilabdho- 'sīśvara prakrtito'pi vidūraḥ

119

Fourth Song

7 pādapańkajarasam tava kecid bhedaparyușitavrttimupetāḥ kecanāpi rasayanti tu sadhyo bhātamakşatavapurdvayašūnyam

8 nātha vidyudiva bhāti vibhāte yā kadācana mamāmtadigdhā sā yadi sthirataraiva bhavettat pūjito'si vidhivatkimutānyat

9 sarvamasyaparamasti na kimcid vastvavastu yadi veti mahatyā prajñāya vyavasito'tra yathaiva tvam tathaiva bhava suprakațo me

10 şvecchayaiva bhagavannijamārge kāritaḥ padamaham prabhunaiva tatkatham janavadeva carāmi tvatpadocitamavaimi na kimcit

11 ko'pi deva hrdi teşu tāvako jrmbhate subhagabhāva uttamaḥ tvatkathāmbudaninādacātakā yena te'pi subhagīkrtāściram

.12 tvajjuşāņ tvayi kayāpi līlayā rāga csa paripoșamāgataḥ yadviyogabhuvi sankathā tathā samsmrtih phalati samgamotsavam

13, 14 yo vicitrarasasekavardhitaḥ śańkareti śataśo'pyudīritaḥ śabda āviśati tiryagāśaye- şvapyayam navanavaprayojanaḥ te jayanti mukhamaņdale bhraman asti yeşu niyatam śivadhvaniņ yaḥ śāśīva prasṛto'mrtāśayāt svādu samsravati cāmrtam param*

Most manuscripts place these two verses together with one long commentary following both. Cf. also 10.5, 6 and 10.18, 19.

120

Fourth Song

i arisamāptamivogramidam jagad 15 vigalito'viralo manaso malaḥ tadapi nāsti bhavatpurā- rgalakavāțavighațțanamaņvapi

satataphullabhavanmukhapańkajo- 16 daravilokanalālasacetasaḥ kimapi tatkuru nātha manāgiva sphurasi yena mamābhimukhasthitiḥ

tvadavibhedamateraparam nu kim 17 sukhamihāsti vibhūtirathāparā tadiha tāvakadāsajanasya kiņ kupathameti mana parihrtya tām

kşaņamapīha na tāvakadāsatām 18 prati bhaveyamaham kila bhājanam bhavadabhedarasāsavamādarā- daviratam rasayeyamaham na cet

na kila paśyati satyamayam jana- 19 stava vapur dvayadrsțimalīmasaḥ tadapi sarvavidāśritavatsalaḥ kimidamārațitam na śrņoși me

smarasi nātha kadācidapīhitam 20 vişayasaukhyamathāpi mayārthitam satatameva bhavadvapurīkșaņā- mtamabhīșțamalam mama dehi tat

kila yadaiva śivādhvani tāvake 21 krtapado'smi maheśa tavecchayā śubhaśatānyuditāni tadaiva me kimaparam mrgaye bhavataḥ prabho

yatra so'stamayameti vivasvām- 22 ścandramah prabhrtibhih saha sarvaiḥ kāpi sā vijayate śivarātriḥ svaprabhāprasarabhāsvararūpā

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Fourth Song

23 apyupārjitamaham trişu loke- şvadhipatyamamareśvara manye nīrasam tadakhilam bhavadanghri- sparśanāmrtarasena vihīnam

24 bata nātha drdho'yam ātmabandho bhavadakhyātimayastvayaiva kļptaḥ yadayam prathamānameva me tvā- mavadhīrya ślathate na leśato'pi

25 mahatāmamareśa pūjyamāno- 'pyaniśam tişthasi pūjakaikarūpaḥ bahirantarapīha drśyamānaḥ sphurasi draștrśarīra eva śaśvat

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The Fifth Song

.

Svabalanideśanākhyam pañcamam stotram

· tvatpādapadmasamparkamātrasambhogasanginam galepādikayā nātha mām svaveśma praveśaya

bhavatpādāmbujarajorājirañjitamūrdhajaḥ apārarabhasārabdhanartanaḥ syāmaham kadā

tvadekanātho bhagavanniyadevārthaye sadā tvadantarvasatirmūko bhaveyam mānyathā budhaḥ

aho sudhānidhe svāminn aho mrsța trilocana 4 aho svādo virūpakşetyeva nrtyeyamārațan

tvapādapadmasamsparśaparimīlitalocanaḥ 5 vijrmbheya bhavadbhaktimadirāmadaghūrņitaḥ

cittabhūbhrdbhuvi vibho vaseyam kvāpi yatra sā 6 nirantaratvatpralāpamayī vrttirmahārasā

yatra devīsametastvamāsaudhādā ca gopurāt 7 bahurūpaḥ sthitastasminvāstavya syāmaham pure

samullasantu bhagavan bhavadbhānumarīcayaḥ 00 vikasatveşa yāvanme hrtpadmaḥ pūjanāya te

prasīda bhagavan yena tvatpade patitam sadā 9 mano me tattadāsvādya kșīvediva galediva

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Fifth Song

10 praharșādvātha śokādvā yadi kunyāddhațādapi bāhyādathāntarādbhāvātprakațībhava me prabho

11 bahirapyantarapi tatsyandamānam sadāstu me bhavatpādāmbujasparśāmrtamatyantaśītalam

12 tvatpādasamsparśasudhāsaraso'ntarnimajjanam ko'pyeşa sarvasambhogalanghī bhogo'stu me sadā

13 niveditamupādatsva rāgādi bhagavanmayā ādāya cāmrtīkrtya bhunksva bhaktajanaiḥ samam

14 aśeşabhuvanāhāranityatrptaḥ sukhāsanam svāmin grhāņa dāseșu prasādālokanakșaņam

15 antarbhakticamatkāracarvaņāmīlitekșaņaḥ namo mahyam śivāyeti pūjayam syām trņānyapi

16 api labdhabhavadbhāvaḥ svātmollāsamayam jagat paśyan bhaktirasābhogairbhaveyamaviyojitaḥ

17 ākāmkşaņīyamaparam yena nātha na vidyate tava tenādvitīyasya yuktam yatparipūrņatā

18 hasyate nṛtyate yatra rāgadveșādi bhujyate pīyate bhaktipīyūşarasastatprāpnuyām padam

19 tat tadapūrvāmoda- tvaccintākusumavāsanā drdhatām etu mama manasi yāva- nnaśyatu durvāsanāgandhaḥ

20 kva nu rāgādişu rāgaḥ kva ca haracaraņāmbujeșu rāgitvam ittham virodharasikam bodhaya hitamamara me hrdayam

21 vicaranyogadaśāsvapi vişayavyāvttivartamāno'pi tvaccintāmadirāmada- taralīkṛtahṛdaya eva syām

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Fifth Song

vāci manomatișu tathā 22 śarīraceşțāsu karaņaracitāsu sarvatra sarvadā me puraḥsaro bhavatu bhaktirasaḥ

śivaśivaśiveti nāmani 23 tava niravadhi nātha japyamāne'smin āsvādayan bhaveyam kamapi mahārasamapunaruktam

sphuradanantacidātmakavișțape 24 parinipītasamastajadādhvani agaņitāparacinmayagaņdike pravicareyamaham bhavato'rcitā

svavapuși sphuțabhāsini śāśvate 25 sthitikrte na kimapyupayujyate iti matiḥ sudrdhā bhavatāt param mama bhavaccaraņābjarajaḥ śuceḥ

kimapi nātha kadācana cetasi 26 sphurati tadbhavadamghritalasprśām galati yatra samastamidam sudhā- sarasi viśvamidam diśa me sadā

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The Sixth Song

.

Adhvavisphuraņākhyam şaştham stotram

1 kşaņamātramapīśāna viyuktasya tvayā mama nibidam tapyamānasya sadā bhūyā drśaḥ padam

2 viyogasāre saņsāre priyeņa prabhuņā tvayā aviyuktaḥ sadaiva syām jagatāpi viyojitaḥ

3 kāyavānmanasairyatra yāmi sarvam tvameva tat ityeşa paramārtho'pi paripūrņo'stu me sadā

4 nirvikalpo mahānandapūrņo yadvadbhavāmstathā bhavatstutikarī bhūyādanurūpaiva vānmama

5 bhavadāveśataḥ paśyan bhāvam bhāvam bhavanmayam vicareyam nirākānkşaḥ praharaparipūritaḥ

6 bhagavanbhavataḥ pūrņam paśyeyamakhilam jagat tāvataivāsmi santușțastato na parikhidyase

7 vilīyamānāstvayyeva vyomni meghalavā iva bhāvā vibhāntu me śaśvatkramanairmalyagāminaḥ

8 svaprabhāprasaradhvastāparyantadhvāntasantatiḥ santatam bhātu me ko'pi bhavamadhyādbhavanmaņi

9 kām bhūmikām nādhiśeşe kim tatsyādyanna te vapuḥ śrāntastenāprayāsena sarvatastvāmavāpnuyām

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Sixth Song

bhavadangaparişvangasambhogah svecchayaiva me 10 ghațatāmiyati prāpte kiņ nātha na jitam mayā

prakațībhava nānyābhih prārthanābhiḥ kadarthanāḥ 11 kurmaste nātha tāmyantastvāmeva mrgayāmahe

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The Seventh Song

Vidhuravijayanāmadheyam

saptamam stotram

tvayyänandasarasvati samarasatāmetya nātha mama cetaḥ pariharatu sakrdiyantam bhedādhīnam mahānartham

2 etanmama na tvidamiti rāgadveşādinigadadrdhamūle nātha bhavanmayataikya- pratyayaparaśuh patatvantaḥ

3 galatu vikalpakalankāvalī samullasatu hrdi nirargalatā bhagavannānandarasa- plutāstu me cinmayī mūrtiḥ

4 rāgādimayabhavāņdaka- luțhitam tvadbhaktibhāvanāmbikā taistaiḥ āpyāyayatu rasairmām pravrddhapakso yathā bhavāmi khaga

5 tvaccaraņabhāvanāmṛta- rasasārāsvādanaipuņam labhatām cittamidam niḥśeșita- vişayavişasangavāsanāvadhi me

6 tvadbhaktitapanadīdhiti- samsparśavaśānmamaișa dūrataram

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Seventh Song

cetomaņirvimūñcatu rāgādikataptavahnikaņān

tasminpade bhavantam 7 satatamupaślokayeyamatyuccaiḥ hariharyaśvaviriñcā api yatra bahiḥ pratīkșante

bhaktimadajanitavibhrama- 8 vaśena paśyeyamavikalam karaņaiḥ śivamayamakhilam lokam kriyāśca pūjāmayī sakalāḥ

māmakamanogrhīta- 9 tvadbhaktikulānganāņimādisutān sūtvā subaddhamūlā mameti buddhim drdhikurutām

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The Eighth Song

Alaukikodbalanākhyam-

aştamam stotram

1 yaḥ prasādalava īśvarasthito yā ca bhaktiriva māmupeyuşī tau parasparasamanvitau kadā tādrśe vapuşi rūdhimeşyataḥ

2 tvatprabhutvaparicarvaņajanmā ko'pyudetu paritoşaraso'ntaḥ sarvakālamiha me paramastu jñānayogamahimādi vidūre

3 lokavadbhavatu me vişayeşu sphīta eva bhagavanparitarşaḥ kevalam tava śarīratayaitān lokayeyamahamastavikalpaḥ

4 dehabhūmişu tathā manasi tvam prāņavartmani ca bhedamupete samvidaḥ pathișu teșu ca tena svātmanā mama bhava sphuțarūpaḥ

5 nijanijeșu padeșu patantvimāḥ karaņavṛttaya ullasitā mama kşaņamapīśa manāgapi maiva bhūt tvadavibhedarasakşatisāhasam

6 laghumasṛņasitācchaśītalam bhavadāveśavašena bhāvayan

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Eighth Song

vapurakhilapadārthapaddhate- rvyavahārānativartayeya tān

vikasatu svavapurbhavadātmakam 7 samupayāntu jaganti mamāngatām vrajatu sarvamidam dvayavalgitam smṛtipathopagame'pyanupākhyatām

samudiyādapi tādrśatāvakā- 8 nanavilokaparamrtasamplavaḥ mama ghațeta yathā bhavadadvayā- prathanaghoradariparipūraņam

api kadācana tāvakasańgamā- 9 mṛtakaņācchuraņena tanīyasā sakalalokasukheşu parāńmukho na bhavitāsmyubhayacyuta eva kim

satatameva bhavaccaraņāmbujā- 10 karacarasya hi hamsavarasya me upari mūlatalād api cāntarā- dupanamatvaja bhaktimņņālikā

upayāntu vibho samastavastūnyapi cintāvişayam drśah padam ca mama darśanacintanaprakāśā- mṛtasārāņi param parisphurantu

parameśvara teşu teşu krcchre- 12 şvapi nāmopanamatsvaham bhaveyam na param gatabhīstvadangasangā- dupajātādhikasammado'pi yāvat

bhavadātmani viśvamumbhitam yad 13 bhavataivāpi bahiḥ prakāśyate tat iti yaddrdhaniścayopajuştam tadidānīņ sphuțameva bhāsatām

C 131

The Ninth Song

Svātantryavijayākhyam navamam stotram

kadā navarasārdrārdra- sambhogāsvādanotsukam pravarteta vihāyānyan mama tvatsparśane manaḥ

2 tvadekaraktastvatpāda- pūjāmātramahādhanaḥ kadā sākşātkarişyāmi bhavantamayamutsukaḥ

3 gādhānurāgavaśato nirapekşībhūtamānaso'smi kadā pațapațiti vighațitākhila- mahārgalastvāmupaişyāmi

4 svasamvitsārahrdayā- dhișțhānāḥ sarvadevatāḥ kadā nātha vaśīkuryām bhavadbhaktiprabhāvataḥ

5 kadā me syādvibho bhūri bhaktyānandarasotsavaḥ yadālokasukhānandī prthańnāmāpi lapsyate

6 īśvaramabhayamudāram pūrņamakāraņamapahnutātmānam

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Ninth Song

sahasābhijñāya kadā svāmijanaņ lajjayişyāmi

kadā kāmapi tām nātha tava vallabhatāmiyām yayā mām prati na kvāpi yuktam te syātpalāyitum

tattvato'śeşajantūnām̧ 8 bhavatpūjāmayātmanām drstyānumoditarasā- plāvitaḥ syām kadā vibho

jñānasya paramā bhūmi- 9 ryogasya paramā daśā tvadbhaktiryā vibho karhi pūrņa me syāttadarthitā

sahasaivasādya kadā 10 gādhamavaşțabhya harşavivaśo'ham tvaccaraņavaranidhānam sarvasya prakațayişyāmi

paritaḥ prasaracchuddha- 11 tvadālokamayaḥ kadā syām yatheśa na kiñcinme māyācchāyābilam bhavet

ātmasātkṛtaniḥśeșa- 12 maņdalo nirvyapekşakaḥ kadā bhaveyam bhagavam- stvadbhaktagaņanāyakaḥ

nātha lokābhimānānā- 13 mapürvam tvam nibandhanam mahābhimānaḥ karhi syām tvadbhaktirasapūritaḥ

aśeşavişayāšūnya- 14 śrīsamāśleșasusthitaḥ

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Ninth Song

śayīyamiva śītānghri- kuśeśayayuge kadā

15 bhaktyāsavasamṛddhāyā- stvatpūjābhogasampadaḥ kadā pāram gamișyāmi bhavişyāmi kadā kṛtī

16 ānandabāșpapūra- skhalitaparibhrāntagadgadākrandaḥ hāsollāsitavadana- stvatsparśarasam kadāpsyāmi

17 paśujanasamānavrttā- mavadhūya daśāmimām kadā šambho āsvādayeya tāvaka- bhaktocitamātmano rūpam

18 labdhāņimādisiddhi- rvigalitasakalopatāpasantrāsaḥ tvadbhaktirasāyanapāna- kridhāniştaḥ kadāsīya

19 nātha kadā sa tathāvidha ākrando me samuccared vāci yat samanantarameva sphurati purastāvakī mūrtiḥ

20 gadhagadhabhavadanghrisarojā linganavyasanatatparacetāḥ vastvavastvidamayatnata eva tvām kadā samavalokayitāsmi

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The Tenth Song

.

Avicchedabhangākhyam daśamam stotram

na sodhavyamavaśyam te jagadekaprabhoridam 1 māheśvarāśca lokānāmitareşām samāśca yat

ye sadaivānurāgeņa bhavatpādānugāminaḥ 2 yatra tatra gatā bhogāmste kāmścid upabhuñjate

bhartā kālāntako yatra bhavāmstatra kuto rujaḥ tatra cetarabhogāśā kā lakșmīryatra tāvakī

kşanamātrasukhenāpi vibhuryenāsi labhyase 4 tadaiva sarvaḥ kālo'sya tvadānandena pūryate

ānandarasabinduste candramā galito bhuvi 5,6 sūryastathā te prasrtaḥ saņhārī tejasaḥ kaņaḥ baliņ yāmastrtīyāya netrāyāsmai tava prabho alaukikasya kasyāpi māhātmyasyaikalakșmaņe

tenaiva drsto'si bhavaddarśanādyo'tihrsyati 7 kathañcidyasya vā harşaḥ ko'pi tena tvamīkșitaḥ

yeşām prasanno'si vibho yairlabdham hrdayam tava ākrşya tvatpurāttaistu bāhyamābhyantarīkrtam

tvadṛte nikhilam viśvam samadrgyātamīkşyatām īśvaraḥ punaretasya tvameko vişamekșaņaḥ

-..-

Tenth Song

10 āstām bhavatprabhāveņa vinā sattaiva nāsti yat tvaddūşaņakathā yeșām tvadrte nopapadyate

11 bāhyāntarāntarāyālīkevale cetasi sthitiḥ tvayi cetsyānmama vibho kimanyadupayujyate

12 anye bhramanti bhagavannātmanyevātiduḥsthitā anye bhramanti bhagavannātmanyevātisusthitāḥ

13 apītvapi bhavadbhaktisudhāmanavalokya ca tvāmīśa tvatsamācāramātrātsiddhyanti jantavaḥ

14 bhrtyā vayam tava vibho tena trijagatām yathā bibharşyātmānamevam te bharttavyā vayamapyalam

15 parānandāmṛtamaye drsțo'pi jagadātmani tvayi sparśarase'tyantatarasutkaņțhito'smi te

16 deva duņkhānyaśeșāņi yāni samsāriņāmapi ghṛtyākhyabhavadīyātmayutānyāyānti sahyatām

17 sarvajñe sarvaśaktau ca tvayyeva sati cinmaye sarvathāpyasato nātha yuktāsya jagataḥ prathā

18,19 tvatprāņitāņ sphurantīme guņā loșțopamā api nṛtyanti pavanoddhūtāḥ kārpāsāḥpicavo yathā yadi nātha guņeșvātmābhimāno na bhavettataḥ kena hiyeta jagatastvadekātmatayā prathā

20 vandyāste'pi mahīyāmsaḥ pralayopagatā api tvatkopapāvakasparšapūtā ye parameśvara

21 mahāprakāśavapuși vispaste bhavati sthite sarvato'pīśa tatkasmāttamasi prasarāmyaham

22 avibhāgo bhavāneva svarūpamamrtam mama tathāpi martyadharmāņāmahamevaikamāspadam

23 maheśvareti yasyāsti nāmakam vāgvibhūșaņam praņāmāńkaśca śirasi sa evaikaḥ prabhāvitaḥ

Tenth Song

sadasacca bhavāneva yena tenāprayāsataḥ 24 svarasenaiva bhagavamstathā siddhiḥ katham na me

śivadāsaḥ śivaikātmā kiņ yannāsādayetsukham 25 tarpyo'smi devamukhyānāmapi yenāmrtāsavaiḥ

hṛnnābhyorantarālasthaḥ prāņinām pittavigrahaḥ 26 grasase tvam mahāvahniḥ sarvam sthāvarajańgamam

The Eleventh Song

Autsukyaviśvasitanāmaikādašam

stotram

1 jagadidamatha vā suhrdo bandhujano vā na bhavati mama kimapi tvam punaretatsarvam yadā tadā ko'paro me'stu

2 svāminmaheśvarastvam sākşātsarvam jagattvameveti vastveva siddhimetviti yācñā tatrāpi yācñaiva

3 tribhuvanādhipatitvamapīha ya- ttrņamiva pratibhāti bhavajjuşaḥ kimiva tasya phalam subhakarmaņo bhavati nātha bhavatsmaraņādrte

yena naiva bhavato'sti vibhinnam kiñcanāpi jagatām prabhavaśca tvadvijrmbhitamato'dbhutakarma- svapyudeti na tava stutibandhaḥ

5 tvanmayo'smi bhavadarcananisthaḥ şarvadāhamiti cāpyavirāmam bhävayannapi vibho svarasena svapnago'pi na tathā kimiva syām

6 ye manāgapi bhavaccaraņābjo- dbhūtasaurabhalavena vimrstah

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Eleventh Song

teșu visramiva bhavati samastam bhogajātamamarairapi mrgyam

hrdi te na tu vidyate'nyadanya- 7 dvacane karmaņi cānyadeva śambho paramārthasato'pyanugraho vā yadi vā nigraha eka eva kāryaḥ

mūdho'smi duḥkhakalito'smi jarādidoșa- 8 bhīto'smi śaktirahito'smi tavāśrito'smi śambho tathā kalaya śīghramupaimi yena sarvottamām dhuramapojjhitaduḥkhamārgaḥ

tvatkarņadeśamadhiśayya mahārghabhāva- 9 mākranditāni mama tucchatarāņi yānti vaņśāntarālapatitāni jalaikadeśa- khaņdāni mauktikamaņitvamivodvahanti

kimiva ca labhyate bata na tairapi nātha janaiḥ 10 kșaņamapi kaitavādapi ca ye tava nāmni ratāḥ śiśiramayūkhaśekhara tathā kuru yena mama kşatamaraņo'ņimādikamupaimi yathā vibhavam

śambho sarva śaśańkaśekhara śiva tryakşākșamālādhara 11 śrīmannugrakapālalāñchana lasadbhīmatrišūlāyudha kāruņyāmbunidhe trilokaracanāśīlograśaktyātmaka śrīkaņțhāśu vināśayāubhabharānādhatsvasiddhiņ parām

tatkim nātha bhavenna yatra bhagavānnirmātṛtāmaśnute 12 bhāva syātkimu tasya cetanavato nāśāsti yam śankaraḥ ittham te parameśvarākșatamahāśakteņ sadā samśritaḥ samsare'tra nirantarādhividhuraḥ klisyāmyaham kevalam

yadyapyatra varapradoddhatatamāḥ pīdājarāmrtyavaḥ 13 ete vā kşaņamāsatām bahumataḥ śabdādirevāsthiraḥ tatrāpi sprhayāmi santatasukhākānkșī ciram sthāsnave bhogāsvādayutatvadanghrikamaladhyānāgrya jīvātave

he nātha praņatārtināśanapațo śreyonidhe dhūrjațe 14 duhkhaikāyatanasya janmamaraņatrastasya me sāmpratam

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Eleventh Song

tacceșțasva yathā manojñavişayāsvādapradā uttamāḥ jīvanneva samaśnuve 'hamacalāḥ siddhīstvadarcāparaḥ

15 namo mohamahādhvanta- dhvamsanānanyakarmaņe sarvaprakāśātiśaya- prakāśāyendulakșmaņe

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The Twelfth Song

Rahasyanirdeśanāma dvādaśam stotram

sahakāri na kiñcidișyate --- bhavato na pratibandhakam drși bhavataiva hi sarvamāplutam kathamadyāpi tathāpi nekșase

api bhāvagaņādapīndriya- 2 pracayādapyavabodhamadhyataḥ prabhavantamapi svataḥ sadā paripaśyeyamapodhaviśvakam

kathaņ te jāyerankathamapi ca te darśanapatham 3 vrajeyuḥ kenāpi prakrtimahatānkena khacitaḥ tathotthayotthāya sthalajalatrņāderakhilataḥ padārthadyānsrsțisravadamțtapūrairvikirasi

sākşatkrta bhavadrūpaprasrtāmrtatarpitāḥ 4 unmūlitatrșo mattā vicaranti yathāruci

na tadā na sadā na caikade- tyapi sā yatra na kāladhīrbhavet tadidam bhavadīyadarśanam na ca nityam na ca kathyate'nyathā

tvadvilokanasamutkacetaso 6 yogasiddhiriyatī sadāstu me yadviśeyamabhisandhimātrata- stvatsudhāsadanamarcanāya te

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Twelfth Song

7 nirvikalpabhavadīyadarśana- praptiphullamanasām mahātmanām ullasanti vimalāni helayā ceșțitāni ca vacāmsi ca sphuțam

8 bhavanbhavadīyapādayo- rnivasannantara eva nirbhayaḥ bhavabhūmişu tāsu tāsvaham prabhumarceyamanargalakriyaḥ

9 bhavadanghrisaroruhodare parilīno galitaparaișanaḥ atimatramadhupayogatah paritṛpto vicareyamicchayā

10 yasya dambhādiva bhavatpūjāsankalpa utthitaḥ tasyāpyavaśyamuditam sannidhānam tavocitam

11 bhagavannitarānapekșiņā nitarāmekarasena cetasā sulabham sakalopaśāyinam prabhumātrpti pibeyamasmi kim

12 tvayā nirākṛtam sarvam heyametattadeva tu tvanmayam samupādeyamityayam sārasamgrahaḥ

13 bhavato'ntaracāri bhāvajātam prabhuvanmukhyatayaiva pūjitam tat bhavato bahirapyabhāvamātrā kathamīšān bhavetsamarcyate vā

14 niḥśabdam nirvikalpam ca nirvyākșepamathānisam kşobhe'pyadhyakşamī kşeyam tryakșa tvāmeva sarvataḥ

15 prakațaya nijadhāma deva yasmim- stvamasi sadā parameśvarīsametaḥ prabhucaraņarajaḥsamānakakșyāḥ kimaviśvāsapadam bhanti bhrtyāh

16 darśanapathamupayāto'pyapasarasi kuto mameśa bhrtyasya

142

Twelfth Song

kşaņamātrakamiha na bhavasi kasya na jantordṛśorvişayaḥ

aikyasamvidamrtācchadhārayā 17 santataprasṛtayā kadā vibho plāvanāt paramabhedamānayam- stvāņ nijam ca vapurāpnuyām mudam

ahamityamuto'varuddhalokā- 18 dbhavadīyātpratipattisārato me aņumātrakameva viśvaniştham ghațatām yena bhaveyamarcitā te

aparimitarūpamaham 19 tam tam bhāvam pratikşaņam paśyan tvāmeva viśvarūpam nijanātham sādhu pašyeyam

bhavadangagatam tameva kasmā- 20 nna manaḥ paryațatīştamarthamartham prakṛtikșatirasti no tathāsya mama cecchā paripūryate paraiva

śataśaḥ kila te tavānubhāvā- 21 dbhagavanke'pyamunaiva cakşuşā ye api hālikaceștayā carantaḥ paripaśyanti bhavadvapu sadāgre

na sā matirudeti yā na bhavati tvadicchāmayī 22 sadā śubhamathetaradbhagavataivamācaryate ato'smi bhavadātmako bhuvi yathā tathā sañcaran sthito'niśamabādhitatvadamalanghripūjotsavaḥ

bhavadīyagabhīrabhāșiteșu 23 pratibhā samyagudetu me puro'taḥ tadanuşțhitaśaktirapyatasta- dbhavadarcāvyasanam ca nirvirāmam

vyavahārapade'pi sarvadā 24 pratibhātvarthakalāpa eșa mām

143

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Twelfth Song

bhavato'vayavo yathā na tu svata evādaraņīyatām gataḥ

25 manasi svarasena yatra tatra pracaratyapyahamasya gocareşu prasṛto'pyavilola eva yuşma- tparicaryācaturaḥ sadā bhaveyam

26 bhagavanbhavadicchayaiva dāsa- stava jāto'smi parasya nātra śaktiḥ kathameşa tathāpi vaktrabimbam tava paśyāmi na jātu citrametat

27 samutsukāstvām prati ye bhavantam pratyartharūpādavalokayanti teşāmaho kim tadupasthitam syāt kim sādhanam vā phalitam bhavettat

28 bhāva bhavataya santu bhavadbhāvena me bhava tathā na kiñcidapyastu na kiñcidbhavato'nyathā

29 yanna kiñcidapi tanna kiñcida- pyastu kiñcidapi kiñcideva me sarvathā bhavatu tāvatā bhavān sarvato bhavati labdhapūjitaḥ

144

The Thirteenth Song

Samgrahastotranāma

trayodaśam stotram

samgrahena sukhaduḥkhalakşaņam 1 mām prati sthitamidam śrņu prabho saukhyameșa bhavatā samāgamaḥ svāminā viraha eva duņkhitā

antarapyatitarāmaņīyasī 2 yā tvadaprathanakālikāsti me tāmapīśa parimrjya sarvataḥ svaņ svarūpamamalam prakāśaya

tāvake vapuși viśvanirbhare 3 citsudhārasamaye niratyaye tisthatah satatamarcataḥ prabhum jīvitam mrtamathānyadastu me

īśvaro'hamahameva rūpavān 4 paņdito'smi subhago'smi ko'paraḥ matsamo'sti jagatīti śobhate mānitā tvadanurāgiņaḥ param

devadeva bhavadadvayāmṛtā- 5 khyātisamharaņalabdhajanmanā tadyathāsthitapadārthasamvidā mām kurușva caraņārcanocitam

dhyāyate tadanu drśyate tataḥ 6 sprśyate ca parameśvarah svayam

145

Thirteenth Song

yatra pu anamahotsavaḥ sa me sarvadāstu bhavato'nubhāvataḥ

7 yadyathāsthitapadārthadarśanam yuşmadarcanamahotsavaśca yaḥ yugmametaditaretarāśrayam bhaktiśālişu sadā vijrmbhate

8 tattadindriyamukhena santatam yuşmadarcanarasāyanāsavam sarvabhāvacașakeșu pūrite- şvapibannapi bhaveyamunmadah

9 anyavedyamaņumātramasti na svaprakāśamakhilam vijrmbhate yatra nātha bhavatah pure sthitam tatra me kuru sadā tavārcituḥ

10 dāsadhāmni viniyojito'pyaham svecchayaiva parameśvara tvayā darśanena na kimasmi pātritaḥ pādasaņvahanakarmaņāpi vā

11 śaktipātasamaye vicāraņam prāptamīśa na karoși karhicit adya mām prati kimāgatam yataḥ svaprakāśanavidhau vilambase

12 tatra tatra vişaye bahirvibhā- tyantare ca parameśvarīyutam tvām jagattritayanirbharam sadā lokayeya nijapāņipūjitam

13 svāmisaudhamabhisandhimātrato nirvibandhamadhiruhya sarvadā syām prasādaparamāmrtāsavā- pānakeliparilabdhanirvrtiḥ

14 yatsamastasubhagārthavastușu sparśamātravidhinā camatkrtim

146

Thirteenth Song

tām samarpayati tena te vapuh pūjayantyacalabhaktiśālinaḥ

sphārayasya khilamātmanā sphuran 1B5 viśvamāmrśasi rūpamāmršan yatsvayam nijarasena ghurņase tatsamullasati bhāvamaņdalam

yo'vikalpamidamarthamandalam 16 paśyatīśa nikhilam bhavadvapuḥ svātmapakşaparipūrite jaga- tyasya nityasukhinah kuto bhayam

kaņțhakoņaviniviştamīśa te 17 kālakūțamapi me mahāmrtam apyupāttamamrtam bhavadvapu- rbhedavrtti yadi rocate na me

tvatpralāpamayaraktagītikā- 18 nityayuktavadanopaśobhitaḥ syāmathāpi bhavadarcanakriyā- preyasīparigatāśayaḥ sadā

īhitam na bata pārameśvaram 19 śakyate gaņayitum tathā ca me dattamapyamrtanirbharam vapuḥ svam na pātumanumanyate tathā

tvāmagādhamavikalpamadvayam 20 svam svarūpamakhilārthaghasmaram āviśannahamumeśa sarvadā pūjayeyamabhisamstuvīya ca

147

The Fourteenth Song

Jayastotranāma caturdaśam stotram

1 jayalakșmīnidhānasya nijasya svāminaḥ puraḥ jayoddhoşaņapīyūşarasamāsvādaye kșaņam

2 jayaikarudraikaśiva mahādeva maheśvara pārvatīpraņayiñśarva sarvagīrvāņapūrvaja

jaya trailokyanāthaikalāñchanālikalocana 3 3 jaya pītartalokārtikālakūțānkakandhara

4 jaya mūrtatriaktyātmiśataśūlollasatkara jayecchāmātrasiddārthapūjārhacaraņāmbuja

5 jaya śobhaśatasyandilokottaravapurdhara jayaikajațikākşīņagangākṛtyāttabhasmaka

6 jaya kşīrodaparyastajyotsnācchāyānulepana jayeśvarāngasangottharatnakāntāhimaņdana

7 jayākşayaikaśītāmśukalāsadṛśasamśraya jaya gangāsadārbdhavišvaiśvaryābhișecana

8 jayādharāngasamsparśapāvanīkrtagokula jaya bhaktimadābaddhagoșțhīniyatasannidhe

9 jaya svecchātapodeśavipralambhitabāliśa jaya gaurīparişvangayogyasaubhāgyabhājana

10 jaya bhaktirasārdrārdrabhāvopāyanalampața jaya bhaktimadoddāmabhaktavānnrttatoșita

Fourteenth Song

jaya brahmādideveśaprabhāvaprabhavavyaya 11 jayalokeśvaraśreņīśirovidhṛtaśāsana

jaya sarvajagannyastasvamudrāvyaktavaibhava 12 jayātmadānaparyantaviśveśvara maheśvara

jaya trailokyasargecchāvasarāsaddvitīyaka 13 jayaiśvaryabharodvāhadevīmātrasahāyaka

jayākramasamākrāntasamastabhuvanatraya 14 jayāvigītamābālagīyamāneśvaradhvane

jayānukampādiguņānapekșasahajonnate 15 jaya bhişmamahāmrtyughațanāpūrvabhairava

jaya viśvakşayoccaņdakriyānişparipanthika 16 jaya śreyaḥśataguņānuganāmānukīrtana

jaya helāvitīrnaitadamrtākarasāgara 17 jaya viśvakșayakşepikşaņakopāśuśukșaņe

jaya mohāndhakārāndhajīvalokaikadīpaka 18 jaya prasuptajagatījāgarūkādhipūrușa

jaya dehādrikuñjāntarnikūjañjīvajīvaka 19 jaya sanmānasavyomavilāsivarasārasa

jaya jāmbūnadodagradhātūdbhavagirīśvara 20 jaya pāpişu nindolkāpātanotpātacandramaḥ

jaya kaştatapaḥklișțamunidevadurāsada 21 jaya sarvadaśārūdhabhaktimallokalokita

jaya svasampatprasarapatrīkrtanijāśrita 22 jaya prapannajanatālālanaikaprayojana

jaya sargasthitidhvaņsakāraņaikāvadānaka 23 jaya bhaktimadālolalīlotpalamagotsava

Fourteenth Song

24 jaya jayabhājana jaya jitajanma- jarāmaraņa jaya jagajjyeștha jaya jaya jaya jaya jaya jaya jaya jjaya jaya jaya jaya jaya jaya tryakşa

150

The Fifteenth Song

Bhaktistotranāma pañcadaśam stotram

trimalakşālino granthāḥ santi tatpāragāstathā yoginaḥ paņditāḥ svasthāstvadbhaktā eva tatvataḥ

māyīyakālaniyatirāgādyāhāratarpitāḥ 2 caranti sukhino nātha bhaktimanto jagattațe

rudanto vā hasanto vā tvāmuccaiḥ pralapantyamī 3 bhaktā stutipadoccāropacārāh prthageva te

na virakto na cāpīśo mokşākānkşī tvadarcakaḥ 4 bhaveyamapi tüdriktabhaktyāsavarasonmadaḥ

bāhyam hrdaya evāntarabhihrtyaiva yo'rcati 5 tvāmīša bhaktipīyūşarasapūrairnamāmi tam

dharmādharmātmanorantaḥ kriyayorjñānayostathā 6 sukhaduḥkhātmanorbhaktāḥ kimapyāsvādayantyaho

carācarapitaḥ svāmin apyandhā api kusthinaḥ 7 śobhante paramuddāmabhavadbhaktivibhūșaņāh

śiloñchapicchakaśipuvicchāyāngā api prabho 8 bhavadbhaktimahoşmaņo rājarājamapīśate

sudhārdrāyām bhavadbhaktau luțhatāpyārurukșuņā 9 cetasaiva vibho'rcanti kecittvāmabhitah sthitāḥ

rakşaņīyam vardhanīyam bahumānyamidam prabho 10 samsāradurgatiharam bhavadbhaktimahādhanam

Fifteenth Song

11 nātha te bhaktajanatā yadyapi tvayi rāgiņī tathāpīrşyām vihāyāsyāstuşțāstu svāminī sadā

12 bhavadbhāvaḥ puro bhāvī prāpte tvadbhaktisambhave labdhe dugdhamahākumbhe hatā dadhani grdhnutā

13 kimiyam na siddhiratulā kim vā mukhyam na saukhyamāsravati bhaktirupacīyamānā yeyam śambhoḥ sadātanī bhavati

14 manasi maline madīye magnā tvadbhaktimaņilatā kaşțam na nijānapi tanute tān apaurușeyānsvasampadullāsān

15 bhaktirbhagavati bhavati trilokanāthe nanūttamā siddhiḥ kintvaņimādikavirahāt saiva na pūrņeti cintā me

16 bāhyato'ntarapi cotkațonmişa- ttryambakastavakasaurabhāḥ śubhāḥ vāsayantyapi viruddhavāsanān yogino nikațavāsino'khilān

17 jyotirasti kathayāpi na kiņci- dviśvamapyatisuşuptamaeşam yatra nātha śivarātripade'smin nityamarcayati bhaktajanastvām

18 sattvam satyaguņe šive bhagavati sphārībhavatvarcane cūdāyām vilasantu śankarapadaprodyadrajahsancayāḥ rāgādismṛtivāsanāmapi samucchettum tamo jrmbhatām śambho me bhavatāttvadātmavilaye traiguņyavargo'thavā

19 samsārādhvā sudūrah kharataravividhavyādhidagdhāngayaștiḥ bhogā naivopabhuktā yadapi sukhamabhūjjātu nanno cirāya ittham vyartho'smi jātaḥ śaśidharacaraņākrāntikāntottamānga- stvadbhaktaśceti tanme kuru sapadi mahāsampado dīrghadīrghāḥ

The Sixteenth Song

Pāśānudbhedanāma șodaśam stotram

na kiñcideva lokānām bhavadāvaraņam prati 1 na kiñcideva bhaktānām bhavadāvaraņam prati

apyupāyakramaprāpyaḥ sankulo'pi višeaņaiḥ 2 bhaktibhājām bhavānātmā sakrcchuddho'vabhāsate

jayanto'pi hasantyete jitā api hasanti ca 3 bhavadbhaktisudhāpänamattāh ke'pyeva ye prabho

śuşkakam maiva siddheya maiva mucyeya vāpi tu 4 svādisthaparakāstāptatvadbhaktirasanirbharaḥ

yathaivajñātapūrvo'yam bhavadbhaktiraso mama 5 ghațitastadvadīšāna sa eva paripușyatu

satyena bhagavannānyah prārthanāprasaro'sti me 6 kevalam sa tathā ko'pi bhaktyāveśo'stu me sadā

bhaktikşīvo'pi kupyeyam bhavāyānuśayīya ca 7 tathā haseyam udyām ca rațeyam ca śivetyalam

vişamastho'pi svastho'pi rudannapi hasannapi 8 gambhīro'pi vicitto'pi bhaveyam bhaktitah prabho

bhaktānām nāsti samvedyam tvadantaryadi vā bahiḥ 9 ciddharmā yatra na bhavānnirvikalpah sthitah svayam

bhaktā nindānukare'pi tavāmrtakaņairiva 10 hrşyantyevāntarāviddhāstīkșņaromāñcasūcibhiḥ

153

Sixteenth Song

11 duḥkhāpi vedanā bhaktimatām bhogāya kalpate yeşām sudhārdrā sarvaiva samvittvaccandrikāmayī

12 yatra tatroparuddhānām bhaktānām bahirantare nirvyājam tvadvapuḥsparśarasāsvādasukham samam

13 taveśa bhakterarcāyām dainyāmšam dvayasamśrayam vilupyāsvādayantyeke vapuraccham sudhāmayam

14 bhrāntāstīrthadrśo bhinnā bhräntereva hi bhinnatā nişpratidvandvi vastvekam bhaktānām tvam tu rājase

15 mānāvamānarāgādinişpākavimalam manaḥ yasyāsau bhaktimāmllokatulyaśīlah katham bhavet

16 rāgadveşandhakāro'pi yeşām bhaktitvişā jitaḥ teşām mahīyasāmagre katame jñānaśālinaḥ

17 yasya bhaktisudhāsnānapānādividhisādhanam tasya prārabdhamadhyāntadašāsūccaiņ sukhāsikā

18 kīrtyaścintāpadam mrgya pūjyo yena tvameva tat bhavadbhaktimatām ślāghyā lokayātrā bhavanmayī

19 muktisamjñā vipakvāyā bhaktereva tvayi prabho tasyāmādyadaśārūdhā muktakalpā vayam tataḥ

20 duḥkhāgamo'pi bhūyānme tvadbhaktibharitātmanaḥ tvatparācī vibho mā bhūdapi saukhyaparamparā

01 tvam bhaktyā prīyase bhaktiņ prīte tvayi ca nātha yat tadanyonyāśrayam yuktam yathā vettha tvameva tat

22 sākāro vā nirākaro vantarvā bahireva vā bhaktimattātmanām nātha sarvathāsi sudhāmayaḥ

23 asminneva jagatyantarbhavadbhaktimataḥ prati harşaprakāśanaphalamanyadeva jagatsthitam

24 guhye bhaktiḥ pare bhaktirbhaktirviśvamaheśvare tvayi śambhau śive deva bhaktirnāma kimapyaho

154

Sixteenth Song

bhaktirbhaktiḥ pare bhaktirbhaktirnāma samutkațā 25 tāram viraumi yattīvrā bhaktirme'stu param tvayi

yato'smi sarvaśobhānām prasavāvanirīśa tat 26 tvayi lagnamanargham syādratnam vā yadi vā trņam

āvedakādā ca vedyādyeșām samvedanādhvani 27 bhavatā na viyogo'sti te jayanti bhavajjușaḥ

samsārasadaso bāhye kaiścittvam parirabhyase 28 svāminparaistu tatraiva tāmyadbhistyaktayantraņaiḥ

pānāśanaprasādhana- 29 sambhuktasamastaviśvayā šivayā pralayotsavasarabhasayā drdhamupagüdham śivam vande

parameśvaratā jayatyapūrvā 30 tava viśveśa yadīśitavyaśūnyā aparāpi tathaiva te yayedam jagadābhāti yathā tathā na bhāti

155

The Seventeenth Song

Divyakrīdābahumānanāma

saptadasam stotram

1 aho ko'pi jayatyeşa svāduḥ pūjāmahotsavaḥ yato'mṛtarasāsvādamasrūņyapi dadatyalam

2 vyāpārāḥ siddhidāḥ sarve ye tvatpūjāpuraḥsarāḥ bhaktānām tvanmayāh sarve svayam siddhaya eva te

sarvadā sarvabhāveşu yugapatsarvarūpiņam 3 3 tvāmarcayantyaviśrantam ye mamaite'dhidevatāḥ

4 dhyānāyasatiraskārasiddhastvatsparśanotsavaḥ pūjāvidhiriti khyāto bhaktānām sa sadāstu me

5 bhaktānām samatāsāravişuvatsamayaḥ sadā tvadbhāvarasapīyūşarasennaişām sadārcanam

6 yasyānārambhaparyantau na ca kālakramaḥ prabho pūjātmāsau kriyā tasyāḥ kartārastvajjușah param

7 brahmādīnāmapīśāste te ca saubhāgyabhāginaḥ yeşäm svapne'pi mohe'pi sthitastvatpūjanotsavaḥ

8 japatām juhvatām snātām dhyāyatām na ca kevalam bhaktānām bhavadabhyarcāmaho yāvadyadā tadā

9 bhavatpūjāsudhāsvādasambhogasukhinaḥ sadā indrādīnāmatha brahmamukhyānāmasti kaḥ samaḥ

156

Seventeenth Song

jagatkşobhaikajanake bhavatpūjāmahotsave 10 yatprāpyam prāpyate kiņcidbhaktā eva vidanti tat

tvaddhāmni cinmaye sthitvā sattrimśattattvakarmabhiḥ 11 kāyavākcittaceșțādyairarcaye tvām sadā vibho

bhavatpūjāmayāsangasambhogasukhino mama 12 prayātu kālaḥ sakalo'pyananto'pīyadarthaye

bhavatpūjāmrtarasābhogalampațata vibho 13 vivardhatāmanudinaņ sadā ca phalatām mama

jagadvilayasañjātasudhaikarasanirbhare 14 tvadabdhau tvām mahātmānamarcannāsīya sarvadā

aśeşavāsanāgranthivicchedasaralam sadā 15 mano nivedyate bhaktaiḥ svādu pūjāvidhau tava

adhişthāyaiva vişayānimāḥ karaņavrttaya 16 bhaktānām preşayanti svatpūjārthamamrtāsavam

bhaktānām bhaktisamvegamahoșmavivaśātmanām 17 ko'nyo nirvāņahetuḥ syāttvatpūjāmrtamajjanāt

satataņ tvatpadābhyarcāsudhāpānamahotsavaḥ 18 tvatprasādaikasamprāptiheturme nātha kalpatām

anubhūyāsamīśāna pratikarma kșaņātkșaņam 19 bhavatpūjāmrtāpānamadāsvādamahāmudam

drstartha eva bhaktānām bhavatpūjāmahodyamaḥ 20 tadaiva yadasambhāvyam sukhamāsvādayanti te

yāvanna labdhastvatpūjāsudhāsvādamahotsavaḥ 21 tāvannāsvādito manye lavo'pi sukhasampadaḥ

bhaktānāņ vişayanveşābhāsāyāsādvinaiva sā 22 ayatnasiddham tvaddhāmasthitiņ pūjāsu jāyate

na prāpyamasti bhaktānām nāpyeșāmasti durlabham 23 kevalam vicarantyete bhavatpūjāmadonmadāḥ

157

Seventeenth Song

24 aho bhaktibharodāracetasām varada tvayi slāghyaḥ pūjāvidhiņ ko'pi yo na yācñākalamkitaḥ

25 kā nā śobhā na ko hlādaḥ kā samrddhirna vāparā ko vā na mokşaḥ ko'pyeșa mahādevo yadarcyate

26 antarullasadacchācchabhaktipīyūşapoșitam bhavatpūjopayogāya śarīramidamastu me

27 tvatpādapūjāsambhogaparatantraḥ sadā vibho bhūyāsam jagatāmīśa ekah svacchandaceșțitaḥ

28 tvaddhyānadarśanasparśatrsi keșāmapi prabho jāyate śītalasvādu bhavatpūjāmahāsaraḥ

29 yathā tvameva jagataḥ pūjāsambhogabhājanam tatheśa bhaktimāneva pūjāsambhogabhājanam

30 ko'pyasau jayati svāminbhavatpūjāmahotsavaḥ şațtrimśato'pi tattvānām kşobho yatrollasatyalam

31 namastebhyo vibho yeşām bhaktipīyūșavāriņā pūjyānyeva bhavanti tvatpūjopakaraņānyapi

32 pūjārambhe vibho dhyātvā mantrādheyām tvadātmatām svātmanyeva pare bhaktā mānti harşeņa na kvacit

33 . rājyalābhādivotphullaiḥ kaiścitpūjāmahotsave sudhāsavena sakalā jagatī samvibhajyate

34 pūjāmrtāpānamayo yeşām bhoga pratikșaņam kim devā uta muktāste kim vā ke'pyeva te janāḥ

35 pūjopakaraņībhūtaviśvaveśena gauravam aho kimapi bhaktānām kimapyeva ca lāghavam

36 pūjāmayākșavikşepakşobhādevāmrtodgamaḥ bhaktānām kşīrajaladhikşobhādiva divaukasām

37 pūjām kecana manyante dhenum kāmadughāmiva sudhādhārādhikarasām dhayantyantarmukhāh pare

158

Seventeenth Song

bhaktānāmakşavikşepo'pyeșa samsārasammataḥ 38 upanīya kimapyantaḥ pușņātyarcāmahotsavam

bhaktikşobhavaśādīśa svātmabhūte'rcanam tvayi 39 citram dainyāya no yāvaddīnatāyāh param phalam

upacārapadam pūjā keșāmcittvatpadāptaye 40 bhaktānām bhavadaikātmyanirvrttiprasarastu sa

apyasambaddharūpārcā bhaktyunmādanirargalaiḥ 41 vitanyamānā labhate pratisthām tvayi kāmapi

svādubhaktirasāsvādastabdhībhūtamanaścyutām 42 śambho tvameva lalitaḥ pūjānām kila bhājanam

paripūrņāni śuddhāni bhaktimanti sthirāņi ca 43 bhavatpūjāvidhau nātha sādhanāni bhavantu me

aśeşapūjāsatkośe tvatpūjākarmaņi prabho 44 aho karaņavrndasya kāpi lakşmīrvijrmbhate

eşā peśalimā nātha tavaiva kila drśyate 45 viśveśvaro'pi bhrtyairyadarcyase yaśca labhyase

sadāmurttāda mūrttādva bhāvādyadvāpyabhāvataḥ 46 uttheyānme praśastasya bhavatpūjāmahotsavaḥ

kāmakrodhābhimānaistvāmupaharīkrtaiņ sadā 47 ye'rcayanti namastebhyasteşām tusto'smi tattvataḥ

jayatyeşa bhavadbhaktibhājām pūjāvidhih paraḥ 48 yastrņai kriyamāno'pi ratnairevopakalpate

1rn

The Eighteenth Song

Āvişkāranāma aşțādaśam stotram

jagato'ntarato bhavantamāptvā punaretadbhavato'ntarāllabhante jagadīša tavaiva bhaktibhājo na hi teşāmiha dūrato'sti kiñcit

2 kvacideva bhavān kvacidbhavānī sakalārthakramagarbhiņī pradhānā paramārthapade tu naiva devyā bhavato nāpi jatattrayasya bhedaḥ

no jānate subhagamapyavalepavanto 3 lokāḥ prayatnasubhagā nikhila hi bhāvāḥ cetaḥ punaryadidamudyatamapyavaiti naivātmarūpamiha hā tadaho hato'smi

4 bhavanmayasvātmanivāsalabdha- sampadbharābhyarcitayușmadanghriḥ na bhojanācchādanamapyajasra- mapekşate yastamaham nato'smi

5 sadā bhavaddehanivāsasvastho- 'pyantah param dahyata eşa lokaḥ tavecchayā tatkuru me yathātra tvadarcanānandamayo bhaveyam

6 svarasoditayuşmadanghripadma- dvayapūjāmrtapānasaktacittaḥ sakārthacayeşvaham bhaveyam sukhasamsparśanamātralokayātraḥ

160

Eighteenth Song

sakalavyavahāragocare 7 sphutamantah spurati tvayi prabho upayāntyapayānti cāniśam mama vastūni vibhāntu sarvadā

satatameva tavaiva pure'thavā- 8 pyarahito vicareyamaham tvayā kșaņalavo'pyathamā sma bhavet sa me na vijaye nanu yatra bhavanmayah

bhavadangaparisravatsuśītā- mrtapūrairbharite samantato'pi bhavadarcanasampadeha bhaktā- stava samsārasaro'ntare caranti

mahāmantratarucchāyāśītale tvanmahāvane 10 nijātmani sadā nātha vaseyam tava pūjakaḥ

prativastu samastajīvataḥ 11 pratibhāsi pratibhāmayo yathā mama nātha tathā purah prathām vraja netratrayaśūlaśobhitaḥ

abhimānacarūpahārato 12 mamatābhaktibhareņa kalpitāt paritoșagataḥ kadā bhavān mama sarvatra bhaved drśaḥ padam

nivasanparamāmrtābdhimadhye 13 bhavadarcāvidhimātramagnacittaḥ sakalam janavrttamācareyam rasayansarvata eva kiñcanāpi

bhavadīyamihāstu vastu tattvam 14 vivarītuņ ka ivātra pātramarthe idameva hi nāmarūpaceşțā- dyasamam te harate haro'si yasmāt

śāntaye na sukhalipsutā manā- 15 gbhaktisambhrtamadesu taih prabhoḥ

Eighteenth Song

mokşamārgaņaphalāpi nārthanā smaryate hrdayahāriņah puraḥ

16 jāgaretaradaśāthavā parā yāpi kācana manāgavasthiteḥ bhaktibhājanajanasya sākhilā tvatsanāthamanaso mahotsavaḥ

17 āmano'kşavalayasya vrttayaḥ sarvataḥ śithilavrttayo'pi tāḥ tvāmavāpya drdhadīrghasamvido nātha bhaktidhanasoşmaņām katham

18 na ca vibhinnamasrjyata kiñcida- styatha sukhetaradatra na nirmitam atha ca duḥkhi ca bhedi ca sarvathā- pyasamavismayadhāma namo'stu te

19 kharanişedhakhadāmrtapūraņo- cchalitadhautavikalpamalasya me dalitadurjayasamśayavairiņa- stvadavalokanamastu nirantaram

20 sphuțamaviśa māmathāviśeyam satatam nātha bhavantamasmi yasmāt rabhasena vapustavaiva sākşā- tparamāsattigataḥ samarcayeyam

21 tvayi na stutiśaktirasti kasyā- pyathavāstyeva yato'tisundaro'si satatam punararthitam mamaita- dyadaviśrānti vilokayeyamīśam

The Nineteenth Song

Udyotanābhidhānam ekonavimśam stotram

prārthanābhūmikātītavicitraphaladāyakaḥ 1 jayatyapürvavrttānta śivah satkalpapādapaḥ

sarvavastunicayaikanidhānā- 2 tsvātmanastvadakhilam kila labhyam asya me punarasau nijā ātmā na tvameva ghațase paramāstām

jñānakarmamayacidvapurātmā 3 sarvathaişa parameśvara eva syādvapastu nikhileşu padārthe- şveşu nāma na bhavetkimutānyat

vişamārtimuşānena phalena tvadrgātmanā 4 abhilīya pathā nātha mamāstu tvanmayī gatiḥ

bhavadamalacaraņacintāratnalatā- 5 lańkṛtā kadā siddhiḥ siddhajanamānasānām vismayajananī ghațeta mama bhavataḥ

karhi nātha vimalam mukhabimbam 6 tāvakam samavalokayitāsmi yatsravatyamrtapūramapūrvam yo nimajjayati viśvamaśeşam

163

Nineteenth Song

7 dhyātamātramuditam tava rūpam karhi nātha paramāmrtapūraiḥ pūrayettvadavibhedavimokșā- khyatidūravivarāņi sadā me

8 tvadīyānuttararasāsańgasantyaktacāpalam nādyāpi me mano nātha karhi syādastu śīghrataḥ

9 mā śuşkakațukānyeva param sarvāņi sarvadā tavopahrtya labdhāni dvandvānyapyāpatantu me

10 nātha sāmmukhyamāyāntu viśuddhāstava raśmayaḥ yāvatkāyamanastāpatamobhi parilupyatām

11 deva prasīda yāvanme tvanmārgaparipanthikāḥ paramārthamuşo vaśyā bhūyāsurguņataskarāḥ

12 tvadbhaktisudhāsārai- rmānasamāpūryatām mamāśu vibho yāvadimā uhyantām niḥśeşāsāravāsanā plutvā

13 mokşadaśāyām bhakti- stvayi kuta iva martyadharmiņo'pi na sā rājati tato'nurūpā- māropaya siddhibhūmikāmaja mām

14 siddhilavalābhalubdham māmavalepena mā vibho samsthāḥ kşāmastvadbhaktimukhe prollasadaņimādipakșato mokşaḥ

15 dāsasya me prasīdatu bhagavānetāvadeva nanu yāce dātā tribhuvananātho yasya na tanmādrśām dro vişayaḥ

16 tvadvapuḥsmrtisudharasapūrņe mānase tava padāmbujayugmam māmake vikasadastu sadaiva prasravanmadhu kimapyatilokam

Nineteenth Song

asti me prabhurasau janaki'tha 17 tryambako'tha jananī ca bhavānī na dvitīya iha ko'pi mamastī- tyeva nirvrtatamo vicareyam

The Twentieth Song

Carvaņābhidhānam vimśam stotram

1 nātham tribhuvananātham bhūtisitam trinayanam triśūladharam upavītīkrtabhoginamindukalāśekharam vande

2 naumi nijatanuvinismaradamśukapariveșadhavalaparidhānam vilasatkapālamālākalpitanṛttotsavākalpam

3 vande tān daivataņ yeşām haraśceșțā harocitāḥ haraikapravaņāņ prāņāņ sadā saubhāgyasadmanām

4 krīditam tava maheśvaratāyāh prsțhato'nyadidameva yathaitat iştamātraghațiteşvavadāneșvātmanā paramupāyamupaimi

5 tvaddhāmni viśvavandye'sminniyati krīdane sati tava nātha kiyān bhūyānnānandarasasambhavaḥ

6 katham sa subhago mā bhūdyo gauryā vallabho haraḥ haro'pi mā bhūdatha kim gauryāh paramavallabhaḥ

7 dhyānāmrtamayam yasya svātmamūlamanaśvaram saņvillatāstathārūpāstasya kasyāpi sattaroḥ

8 bhaktikaņdūsamullāsāvasare parameśvara mahānikaşapāşāņasthūņā pūjaiva jāyate

9 sadā srțivinodāya sadā sthitisukhāsine sadā tribhuvanāhāratrptāya svāmine namaḥ

10 na kvāpi gatvā hitvāpi na kimcididameva ye bhavyam tvaddhāma paśyanti bhavyāstebhyo namo nama

166

Twentieth Song

bhaktilakşmīsamrddhānām kimanyadupayācitam 11 etayā vā daridrāņām kimanyadupayācitam

duḥkhānyapi sukhāyante vișamapyamrtāyate 12 mokşāyate ca samsāro yatra mārgaḥ sa śankaraḥ

mūle madhy'vasāne ca nāsti duḥkham bhavajjuşām 13 tathāpi vayamīśāna sīdāmaḥ kathamucyatām

jñānayogādinānyeşāmapyapekșitumarhati 14 prakāśaḥ svairiņāmiva bhavān bhaktimatām prabho

bhaktānām nārtayo nāpyastyādhyānam svātmanastava 15 ' tathāpyasti śivetyetatkimapyeşām bahirmukhe

sarvābhāsāvabhāso yo vimarśavalito'khilam 16 ahametaditi staumi tām kriyāśaktimīśa te

vartante jantavo'šeșā api brahmendravișņavaḥ 17 grasamānāstato vande deva viśvam bhavanmayam

sato vināśasambandhānmatparam nikhilam mrşā 18 evamevodyate nātha tvayā samhāralīlayā

dhyātamāt mupatișțhata eva 19 tvadvar rvarada bhaktidhanānām apyacint akhilādbhutacintā- kartrtām prati ca te vijayante

tāvakabhaktirasāsava- sekādiva sukhitamarmamaņdalasphuritaiḥ nṛtyati vīrajano niśi vetālakulaiḥ krtotsāhaḥ

ārabdhā bhavadabhinuti- 21 ramunā yenāngakena mama śambho tenāparyantamimam kālam drdhamakhilameva bhavişīşta

Appendix A

Highlights of Pratyabhijñā (The Doctrine of Recognition)

The literature of what is generally known as Kashmir Saivism traditionally is divided into three branches known as the Āgama Sāstra, Spanda Sāstra, and Pratyabhijñā Śāstra. These are considered to be varying but interdependent approaches to one religious and philosophical system. Often the whole system is known as Trika Sāstra, indicating the unity of the three branches. Just as often, however, the term Pratyabhijñā, or Doctrine of Recognition, because it embodies the main philosophical works of Kashmir Saivism, has come to represent the whole. The major figures of the Pratyabhijñā Sāstra are Somānanda (ca. A.D. 875-925), Utpaladeva (ca. 900-950), and Abhinavagupta (ca. 950-1000); the three have been labeled respectively as "the founder, the systematizer, and the expounder" of Pratyabhijñā.1 The term pratyabhijñā is usually translated as recognition or recollection and has been explained as the "knowledge" (jñana) to which one "turns back" (prati), and which in turn "faces toward" (abhi) the knower. In this system recognition is the realization of the identity of the jīvātman, or individual self, with paramātman, the universal self. Pratyabhijña is typified by the concept that the one reality is Siva, and that Siva expresses himself through Śakti with infinite ābhāsas, or manifestations. These manifestations are categorized as thirty-six tattvas, or constituents of the universe (compare with the twenty-five tattvas of Sāmkhya); since they are the essence of Siva, the tattvas are no less real than the five kañcukas ("coverings") and the three malas ("impurities") that constitute mäya, which causes the sense that one does not belong to the universal essence of Siva, but instead has a separate identity. The world of samsāra is a product of the limitations of māyā. These

Appendix A

limitations cause the individual to remain bound, with a restricted viewpoint regarding his identity and capacities; this restriction causes him to forget his true nature. Pratyabhijña teaches therefore that in order to overcome this false viewpoint, one must recognize that samsāra is not a separate reality, but is a manifestation of Siva. When the individual acquires the recognition that Siva not only enjoys svātantrya, or freedom, but exists also in everything that is limited and bound, he immediately recognizes that he, in turn, is identified with that which is unlimited and absolutely free. Recognition implies that on every level, in every aspect of perception and of existence, the individual must recognize his unity with Siva. If the universe is said to undergo a particular process, this process is necessarily recognized as one that may be experienced by the individual. If Siva is said to constitute the whole universe, so, then, does the individual. In the explanation of how this operates, the texts emphasize the innate unity of the elements in the universe, and it will be seen that the same terms are applied to the processes of both the ultimate self and the individual one. It is the nature of Siva to become immanent and then to disappear continually, and this is done by means of his śakti, or power, personified as Sakti, who expands outward and then withdraws again. The tattvas, like Śiva himself, are said to be in a constant process of srsti (creation) and pralaya (dissolution). This js also known as unmeşa ("opening out") and nimeșa ("closing down"). When Siva "opens out" and becomes manifest, he is said to become bound and limited. It is thus in this state that the person of ordinary worldly consciousness remains bound in the world. But by identifying with higher and higher manifestations of Siva, one can come to recognize the supreme state of Siva-beyond manifestation-that is the body of consciousness itself. Thus does the bonded person become liherated, enjoying the freedom (svätantrya) of following the path of Siva. Pratyabhijñā provides a system by which one can work toward samāveśa, or immersion, and thus reintegration, by changing his sense of identity from that of the pasu, limited or bonded perceiver, to the pati, master of all processes. The system recognizes four graded upāyas (means, ways, paths); by traveling along these "paths" of Siva, the aspirant learns to recognize that the "five functions" (pañcakrtyas) of Siva are functions that operate within himself as well. These eternal functions are srsti (creation or emanation), sthiti (maintenance), samhāra (reabsorption), vilaya or tirodhāna (concealment), and anugraha (grace). The fifth,

Appendix A

anugraha, is essential for the process of reintegration. It becomes manifest as the aspirant's devotion (bhakti) to the Lord. Thus in the songs of the Śivastotrāvalī devotion and grace are equally important. When the aspirant begins to effect the merging of his identity, he will recognize that the very act of his offering of devotion is but another aspect of the Lord's offering of grace. Utpaladeva acknowledges that there is an array of systems claiming to lead to that goal of identifying with the ultimate. But the only one that he considers truly efficacious is the path of devotion. In the songs of the Śivastotrāvalī we follow the devotee Utpala on this path. These songs shed light not only on what a spiritual quest entails in theory-but they record the experiences and reflections of one as he travels along this arduous yet joyful journey.

171

Appendix B

The Manuscripts and their Variant Readings

A description of the manuscripts and printed edition examined in my original study of the Sivastotrāvali is as follows.

B-1 = Banaras Hindu University Library, Catalogue No. 822(No. 44); title: Utpala Stotrāvaliī; script: šāradā; good condition; 17 × 12 cm; 1-20 of 72 folios; 27-50 lines of script; verses written slightly larger than commentary and are set apart for clarity.

B-2= Banaras Hindu University Library, Catalogue No. 882 (No. 17/8259); title: Utpalastotrāwalī; script: śāradā; excellent condition; 12 × 10 cm; 1-57 of 121 folios; 16 lines of script; verses and commentary run together.

B-3= Banaras Hindu University Library, No. 882 (No. 104); title: Utpalastotrāwalī; script: śāradā; good condition; 13 x 9 cm; 1-98 of 228 folios; 12 lines of script; verses and commentary run together.

J = Śrī Ranbir Sanskrit Research Library, Raghunath Mandir, Jammu, Catalogue No. 1088; title: Stotrāvali Vivritti Advayastuti; script: devanāgarī; good condition; 12.5 x 17.5 cm; 1-36 of 84 folios; 13 lines of script; verses and commentary run together.

K-1= University of Kashmir Manuscript Library, Srinagar, No. 215; title: Śivastotrāvali; script: šāradā; good condition; 24 x 19 cm; bound into book form; 20 lines of script; verses and commentary run together.

173

Appendix B

K-2=University of Kashmir Manuscript Library, No. 1329.01; title: Śivastotrāvalī; script: šāradā; good condition; 19 x 13.5 cm; 1-39 of 80 folios; 10 lines of script; does not contain Kşemarāja's commentary, but has another, brief gloss of certain words and phrases in margin and in between lines; elaborately decorated, painted border; includes two paintings in excellent condition.

P = Bhandarkar Oriental Research Institute, Pune, No. 507/1875-76; title: Stotrāvali with Vrtti; script: devanāgarī; excellent condition; 34 × 15 cm; 1-50 of 99 folios; 13-15 lines of script; verses written slightly larger than commentary and are set apart for clarity.

(C) = Chowkhamba Sanskrit Series printed text of Sivastotrāvali: The Śivastotrāvalī of Utpaladevāchārya, ed. by Rājāņaka Lakșmaņa, Chowkhamba Sanskrit Series, No. 15 (Varanasi: Chowkhamba Sanskrit Series Office, 1964).

The most common variants in the texts involved nothing more major than differences of samdhi and the insertion of synonyms, as in svarūpa for śarīra (4.25), jagatām for lokānām (10.1), and visto or galito for prasrto (4.14). Common also is the interchanging of vibho, prabho, and sometimes nätha in the vocative. But these differences are slight, and the tradition of the text, as far as I have seen, is intact and contains no significant variants. All of the manuscripts used for this study are on coarsely-grained paper indigenous to India, commonly referred to as "country paper;" all are written in black ink. K-2 is the only manuscript not in folio form; it has instead been bound into book form. None of the manuscripts is dated, but K-2 may well be the oldest among them; though it is undated, it is considered by the pandits at the University of Kashmir manuscript library to be "250-300 years old." The conjecture is based on the feel of the paper and the beautiful and particularized style of the script. The scribe is thought to have been Rājāņaka Ratnakantha, a well-known Kashmiri scribe whose signature appears on a dated manuscript of the Rājatarangiņī.1 B-1, B-2, B-3, K-1, and K-2 are in sāradã script, and J and P are in devanāgarī. In deciphering the śaradā character I found the published materials on the script generally helpful only in the presentation of initial

174

Appendix B

consonants and some vowels; certain other vowels, as well as compound consonants, are not represented adequately in script charts.2 None of the works consulted notes, for instance, that when na becomes nā, it is written with an entirely different aksara, or that the repha does not appear above the letter it precedes, but is joined to the left of it, sometimes almost invisibly so. Part of the difficulty with saradā is that each scribe has his own style, and what is published in one chart may vary enough from the manuscript under study to cause considerable confusion; I have found such variations even within a single manuscript. In addition, śāradā causes particular problems for one accustomed to reading devanägarī; certain of the akşaras are "false friends," i.e., the sāradā ņa is almost identical to the devanāgarī la, and its tha resembles the devanāgari șa. The symbols for ma, śa, sa, and a not only resemble each other, but can be mistaken for the devanāgari bha as well. The śārada bha, however, is completely different from any character found in devanāgarī. Manuscripts J and P are written in devanāgari, and seem most likely to have had Kashmiri scribes. This is especially true of J, where not only does the formation of the characters resemble the angular style of śāradā, but in a few instances a śāradā akșara is carelessly substituted for a devanāgarī one. Certain scribal errors and variations common to both the śaradā and devanāgarī manuscripts have been left unrecorded in the footnotes to the text since they not only detract from the more significant variant readings, but they follow patterns that can be recorded here. I have found these to fall into three categories: 1) omissions, 2) the interchange of one akşara for another, and 3) samdhi errors and variant spellings. Omissions in most cases are due to scribal carelessness. The interchanging of akşaras can be attributed to the scribe's hearing a Sanskrit sound as it has become changed through the modern vernacular. Thus some of these permutations occur in manuscripts originating in an area where the vernacular has a Sanskrit base; others will be peculiar to manuscripts copied by Kashmiri scribes. It should be noted that in most cases the variations are of mutual interchange, that is, x does not exclusively replace y, but rather x is written for y in some places, and in others, y is written for x. The errors and variant usages of samdhi can be attributed both to carelessness of pen as well as an ear not well attuned to

175

Appendix B

the sound of classical Sanskrit. Examples may be seen in the following:

) omission of: · final visarga. · internal vowel, i.e., the additional stroke(s) required for a, i, e, etc. · avagraha. (In some manuscripts this is omitted consistently throughout the text.) 2) interchanging of: · ra and r. · va and ba. · na and la. · kha and ka. (The interchange of these two sounds is so common in Kashmir that I have seen, in English, Kșemarāja referred to as Khemarāja.) · modern vernacular da, which places a bindu beneath the akşara, used for Sanskrit da. · all sibilants, especially śa and șa. · va and u, when following a consonant, i.e., bhavjjvaşām for bhavajjuşām. Another example also indicates misuse of sibilant: haryaşuviriñca for haryaśvaviriñca. · nasal akşaras and anusvāra; often without specific pattern, i.e., in one place pamka, and another, panka, within one manuscript. The exception is in J, which uses anusvāra almost exclusively. · one nasal for another, i.e., parāñmukho for parānmukho. · mm for final m or m. - · aspirates and non-aspirates. The tendency is to de-aspirate, but interchanges occur both ways; i.e., śambu for śambhu, ānandha for änanda. The most common occurrence is in the retroflex varga; i.e., drsthi for drsti, abhiştham for abhīştam, tiştasi for tişthasi. 3) samdhi errors and variant spellings: · most common with visarga samdhi; i.e., nāmagrahaḥ tasmai for nāmagrahas tasmai; jaladheḥ yutāḥ for jaladheścyutāh. · final nasals; i.e., bhraman asti for bhramannasti. · final dentals; i.e., madhyātbhavan for madhyādbhavan.

176

Notes

INTRODUCTION

1. For elaboration of the Pratyabhijñā doctrine, see Appendix A. 2. Constantina Eleni Rhodes, The Sivastotrāvali of Utpaladeva: Sanskrit Devotional Poetry of Kashmir, Columbia University, New York, 1983. 3. The Śivastotrāvalī of Utpaladevāchārya, edited by Rājāņaka Lakşmaņa (Varanasi: Chowkhamba Sanskrit Series Office, 1964; Chowkhamba Sanskrit Series, No. 15). 4. For further details of my findings, see Appendix B. 5. See, for example, R. K. Kaw, Doctrine of Recognition (Hoshiarpur, 1967), pp. 360-361; Swami Muktananda, Secret of the Siddhas (Ganeshpuri, 1980), pp. 1-8; B. N. Pandit, Aspects of Kashmir Saivism (Srinagar, 1977), pp. 40-45; and J. Rudrappa, Kashmir Saivism (Mysore, 1969), p. xiii. 6. Pramathanath Mukhopadhyaya, "Tantra as a Way of Realization," Cultural Heritage of India, in 3 vols. (Belur Math, Calcutta: Sri Ramakrishna Centenary Committee, 1936), II, 172. 7. Vasudeva S. Agrawala, Śiva Mahādeva: The Great God (Varanasi: Veda Academy, 1966), pp. 4-7, 56-57. 8. Arabinda Basu, "Kashmir Saivism" in Cultural Heritage of India. Edited by Haridas Bhattacharyya, 2d. rev. ed. in 5 vols. (Calcutta: Ramakrishna Mission Institute of Culture, 1956) IV, 85. 9. Harvey P. Alper, "Siva and the Ubiquity of Consciousness," Journal of Indian Philosophy 7 (1979), p. 385. 10. Śivadrsti, cited in (and translated by) J. Rudrappa, Kashmir Śaivism, p. 97. 11. Anubhāva Sūtra, cited in (and translated by) J. Rudrappa, Kashmir Śaivism, p. 69. 12. Mariasusai Dhavamony, Classical Hinduism (Rome: Università Gregoriana Editrice, 1982), p. 228. 13. Ibid. 14. santyeva sūktisaritaḥ paritaḥ sahasrāḥ stotrāvalī surasarit sadršī na kācit /

177

Notes

yā karņatīrthamastišayya punāti pumsaḥ śrīkaņțhanāthanagarīmupakaņțhayantī / / Śāstra-parāmarša of Madhurāja-yogin, verse 8 (available only in manuscript form), cited in Kanti Chandra Pandey, Abhinavagupta: An Historical and Philosophical Study (Varanasi: Chowkhamba Sanskrit Series Office, 1963; Chowkhamba Sanskrit Studies, No. 1, 2nd ed.), p. 765. The translation is my own.

APPENDIX A

1. R. K. Kaw, The Doctrine of Recognition (Pratyabhijña Philosophy). (Hoshiarpur, Vishveshvaranand Institute, 1967; Vishveshvaranand Indological Series, No. 40), pp. 49-60.

APPENDIX B

1. Pandit Dina Nath Shastri, discussion at University of Kashmir, Srinagar, May, 1982 2. Cf. Georg Bühler, Indian Paleography (Calcutta: Indian Studies: Past and Present, 1959; reprint); B. Ch. Chhabra, Antiquities of Chamba State, Part II: Mediaeval and Later Inscriptions, Archeological Survey of India, No. 72 (Delhi: Manager of Publications, 1957); Jayalal Kaul, Studies in Kashmiri (Srinagar: Kapoor Brothers, 1968); Linguistic Survey of India, Vol. VIII, Part II, ed. by G. A. Grierson (Delhi: Motilal Banarsidass, 1968; reprint of first edition, 1919); Louis Renou and Jean Filliozat, L'Inde Classique: Manuel des Etudes Indiennes, Bibliothèque De L'Ecole Française D'Extrème-Orient, Vol. III (Paris: Imprimerie Nationale, 1953).

178

Bibliography

I. PHILOSOPHICAL WORKS IN SANSKRIT

(Because of the variety of transliteration systems used by editors, the Sanskrit bibliographic entries will follow English alphabetical order.)

Gurunātha-Parāmarša. Of Madhurāja. Edited by P. N. Pushp, Kashmir Series of Texts and Studies, No. 85. Srinagar: Research Department, 1960.

Iśwarapratyabhijñā of Utpaladeva. With the Vimarsinī of Abhinavagupta. In 2 vols., Kashmir Series of Texts and Studies, Nos, XXII, XXXIII. Vol. I (inaccurately) entitled: Iśvara-pratyabhijñā Vimarśinī of Utpaladeva. With Commentary by Abhinava-Gupta. Edited by Mukund Rām Shāstrī, 1918; Vol. II: Edited by Pandit Madhusūdan Kaul Shāstri, 1921. Srīnagar: Research Department.

Īšvarapratyabhijñā Vivritivimarśinī by Abhinavagupta. Vols. I, II, III. Edited by Paņdit Madhusūdan Kaul Shāstrī, Kashmir Series of Texts and Studies, Nos. LX, LXII, LXV. Śrinagar: Research Department, 1938, 1941, 1943.

Mahartha-Mañjari of Maheshvara Nanda. With Commentary of the Author. Edited by Mahāmahopādhyāya Paņdit Mukunda Rāma Shāstrī, Kashmir Series of Texts and Studies, No. XI. Srinagar: Research Department, 1918.

Mahārthamañjari. With the Commentary Parimala. Of Maheśvarānanda. Edited by Mahāmahopādhyāya T. Ganapati Śāstrī, Trivandrum Sanskrit Series, No. LXVI. Trivandrum: Superintendent, Government Press, 1919.

Mālinivijayottara Tantram. Edited by Paņdit Madhusūdan Kaul, Shāstrī, Kashmir Series of Texts and Studies, No. XXXVII. Śrinagar: Research Department, 1922.

Bibliography

Parātrishika-Laghuvritti by Abhinavagupta. Edited by Paņdit Jagaddhara Zādoo Shāstrī, Kashmir Series of Texts and Studies, No. LXVIII. Śrīnagar: Research Department, 1947.

Parātrisika Vivriti of Rājāņaka Lakshmirāma. Edited by Paņdit Jagaddhara Zādu Shastri, Kashmir Series of Texts and Studies, No. LXIX. Śrīnagar: Research Department, 1947.

Parā-trimshika. With Commentary. The Latter by Abhinavagupta. Edited by Mahāmahopādhyāya Paņdit Mukunda Rāma Shāstrī, Kashmir Series of Texts and Studies, No. XVIII. Śrinagar: Research Department, 1918.

Pratyabhijñā-kārikā-vritti. Of Rājāņaka Utpala Deva. Edited by Paņdit Madhusudan Kaul Shastrī, Kashmir Series of Texts and Studies, No. XXXIV. Śrinagar: Research Department, 1921.

Sarva-darśana-samgraha of Sāyaņa-Mādhava. Edited by Mahāmahopādhyāya Vasudev Shāstrī Abhyankar, Government Oriental Series Class A, No. 4, 2nd ed. Poona: Bhandarkar Oriental Research Institute, 1951.

Shiva Sūtra Vārttika. By Bhaskara. Edited by Jagadīsha Chandra Chatterji, Kashmir Series of Texts and Studies, No. IV. Śrinagar: Research Department, 1916.

Shivasūtra-Vārtikam by Varadarāja. Edited by Pandit Madhusūdan Kaul, Shāstrī, Kashmir Series of Texts and Studies, No. XLIII. Śrīnagar: Research Department, 1925.

Shiva Sūtra Vimarshini. Being The Sutras of Vasu Gupta with the Commentary Called Vimarshinī by Kşemarāja. Edited by J. C. Chatterji, Kashmir Series of Texts and Studies, No. I. Srinagar: Research Department, 1911.

Siddhitrayi of Rājāņaka Utpala Deva. Edited by Paņdit Madhusūdan Kaul ---- Shastrī, Kashmir Series of Texts and Studies, No. XXXIV. Śrinagar: Research Department, 1921.

Sivadrsti of Śrisomanandanātha. With the Vritti by Utpaladeva. Edited by Pandit Madhusūdan Kaul Shastri, Kashmir Series of Texts and Studies, No. LIV. Srinagar: Research Department, 1934.

Spanda Karikas. With the Vivriti of Ramakantha. Edited by J. C. Chatterji, Kashmir Series of Texts and Studies, No. VI. Srinagar: Research Department, 1913.

Bibliography

Spanda Kārikās. With the Vritti by Kallata. Edited by J. C. Chatterji, Kashmir Series of Texts and Studies, No. V. Śrinagar: Research Department, 1916.

Spandakārikās of Vasugupta. With the Nirņaya by Kșemarāja. Edited and translated by Paņdit Madhusūdan Kaul, Shāstrī, Kashmir Series of Texts and Studies, No. XLII. Śrinagar: Research Department, 1925.

Stava-Chintāmaņi of Bhatța Nārāyaņa. With Commentary by Kșemarāja. Edited by Mahamahopādhyāya Paņdit Mukunda Rāma Shāstrī, Kashmir Series of Texts and Studies, No. X. Srinagar: Research Department, 1918.

Tantrāloka of Abhinava Gupta. With Commentary by Rājāņaka Jayaratha. In 13 vols., Kashmir Series of Texts and Studies. Srinagar: Research Department. Vol. I: Edited by Mahāmahopādhyāya Paņdit Mukund Rām Shastri, No. XXIII, 1918; Vol. XII: Edited by Pandit Mukunda Kaul Shāstrī, No. LVIII, 1937.

II. STOTRA COLLECTIONS IN SANSKRIT

Bauddhastotrasamgraha, Or A Collection of Buddhist Hymns. Edited by Baron von Stael-Holstein, Bibliotheca Indica, Calcutta: Asiatic Society of Bengal, 1908.

Brhat Stotra Ratnakarah. Varanasi: Thakur Prasad and Sons Booksellers, samvat 2035.

Brihat Stotra Sagara. Bombay: Gujarati News Press, 1927.

Brihat Stotra Sarit Ratnākara. Bombay: Native Opinion Press, 1918.

Śivastotrāvalī of Utpaladevāchārya. With the Sanskrit Commentary of Kşemarāja. Edited with Hindi commentary by Rājāņaka Lakșmaņa, Chowkhamba Sanskrit Series, No. 15. Varanasi: Chowkhamba Sanskrit Series Office, 1964.

Stotraratnasamgraha. Mathura: Gita Press, no date given.

Stotraratnāvali. Gorakhpur: Gita Press, no date given.

Stotrarnavah. Edited by T. Chandrasekharan, Oriental Manuscripts Series, No. 70. Madras: Government of Madras, 1961.

Bibliography

Stotrasamāhāra, Part I. Edited by K. Raghavan Pillai, University of Kerala Sanskrit Series, No. 211. Trivandrum: S. V. G. Press, 1964.

III. PHILOSOPHICAL WORKS IN TRANSLATION

Chakraborti, Haripada, trans. Pāšupata Sūtram, with Pañcahārtha-Bhāșya of Kaundinya. Calcutta: Academic Publishers, 1970.

Cowell, E. B., and A. E. Gough, trans. The Sarva-darśana-samgraha or Review of the Different Systems of Hindu Philosophy of Madhava Ācharya. 2nd ed. London: Kegan Paul, Trench, Trübner and Co., 1894.

Gnoli, Raniero. The Aesthetic Experience According to Abhinavagupta. Serie Orientale Roma XI. Rome: Istituto italiano per il medio ed estremo oriente, 1956.

trans. "Sivadrsti by Somananda," East and West, VIII, No. 1 (April, 1957), 16-22.

Kaw, R. K .; ed. and trans. Pratyabhijñā Kārikā of Utpaladeva. Shārada Peetha Research Series, No. 12. Srinagar: Sharada Peetha Research Centre, 1975.

Lessing, Ferdinand D. and Alex Wayman, ed. and trans. Mkhas Grub Rje's Fundamentals of the Buddhist Tantras. Indo-Iranian Monographs, Vol. VIII. The Hague: Mouton, 1968.

Secret of Recognition (Pratyabhijñāhrdayam). Edited by The Staff of the Adyar Library. German translation by Emil Baer. Authorised translation into English by Kurt F. Leidecker. Adyar, Madras: Adyar Library, 1938.

Singh, Jaideva, trans. Pratyabhijñāhrdayam: The Secret of Self-recognition. 3rd rev. ed. Delhi: Motilal Banarsidass, 1980.

, trans. Siva Sutras: The Yoga of Supreme Identity. With a special note by Swami Muktananda. Delhi: Motilal Banarsidass, 1979.

-, trans. Spanda Kārikās. With a special note by Swami Muktananda. Delhi: Motilal Banarsidass, 1980

-, trans. Vijñānabhairava or Divine Consciousness. Delhi: Motilal Banarsidass, 1979.

Bibliography

Taimni, I. K., trans. The Secret of Self-Realization: (Pratyabhijñāhrdayam). Adyar, Madras: The Theosophical Publishing House, 1974.

Wayman, Alex. Yoga of the Guhyasamajatantra: The Arcane Lore of Forty Verses. Delhi: Motilal Banarsidass, 1977.

IV. HYMNS AND POETRY IN TRANSLATION

Anantakrishna Sastri, R., trans. Śiva Sahasranāma Stotra. Madras: V. Ramaswamy Sastrulu and Sons, 1955.

Avalon, Arthur and Saubhagyavardhani, trans. Ānandalahari or Wave of Bliss. Madras: Ganesh and Co., Ltd., 1953.

Avalon, Arthur and Ellen Avalon, trans. Hymns to the Goddess. Madras: Ganesh and Co., Ltd., 1952.

Avalon, Arthur, trans. Śiva-mahimna-stava. Madras: Ganesh and Co., Ltd., 1953.

Brown, W. Norman, trans. The Mahimnastava: Or, Praise of Shiva's Greatness. American Institute of Indian Studies Publication, No. 1. Poona: American Institute of Indian Studies, 1965.

Griffith, Ralph T. H., trans. The Hymns of the Rgveda. New rev. ed. Delhi: Motilal Banarsidass, 1973.

Kaul, Jayalal, trans. Lal Ded. New Delhi: Sahitya Akademi, 1973.

Kingsbury, F. and G. E. Phillips, trans. Hymns of the Tamil Saivite Saints. Calcutta: Association Press, 1921.

Macnicol, Margaret, ed. Poems by Indian Women. Calcutta: Association Press (Y.M.C.A.), 1923.

Mahadevan, T. M. P., trans. The Hymns of Sankara. Delhi: Motilal Banarsidass, 1980.

trans. Śankara's Hymn to iva (Sivānandalahari). Madras: Ganesh and Co. (Madras) Private Ltd., 1963.

183

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Miller, Barbara Stoler, ed. and trans. Love Song of the Dark Lord: Jayadeva's Gitagovinda. New York: Columbia University Press, 1977.

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Nandimath, S. C., L. M. A. Menezes, and R. C. Hiremath, ed. and trans. Śūnyasampādane, Vol. I. Dharwar: Karnatak University, 1965.

Popley, H. A., trans. The Sacred Kural. 2nd ed. Calcutta: Y.M.C.A. Publishing House, 1958.

Raghavan, V., ed. Devotional Poets and Mystics. 2 parts. New Delhi: Govern- ment of India Publications Division, 1978.

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., trans. Hymns de Abhinavagupta. Institute de Civilisation Indienne, Fasc. 31. Paris: Editions E. De Boccard, 1970.

Singh, Kushwant, trans. Hymns of Guru Nanak. New Delhi: Sangam Books, 1969.

Singh, Trilochan, trans. Sacred Writings of the Sikhs: (Granth Saheb). London: George Allen and Unwin Ltd., 1960.

Subrahmanya Sastri, Pandit S. and T. R. Srinivasa Ayyangar, trans. Saundarya- Lahari (The Ocean of Beauty) of Sri Samkara-Bhagavatpāda. Adyar, Madras: The Theosophical Publishing House, 1965.

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Bibliography

Tambyah, T. Isaac. Psalms of the Saiva Saints. London: Luzac and Co., 1925.

Temple, Sir Richard Carnac, trans. The Word of Lalla the Prophetess: Being the Sayings of Lal Ded or Lal Diddi of Kashmir. Cambridge: University Press, 1924.

Thompson, E. J. and A. M. Spencer, ed. Bengali Religious Lyrics: Säkta. Calcutta: Association Press (Y.M.C.A.), 1923.

Vimalananda, Swami, trans. Sri Vishņu Sahasranāma Stotra. Tirupparaitturai: Sri Ramakrishna Tapovanam, 1978.

Vishņu Sahasranāma: The Thousand Names of Vishnu. Ganeshpuri (District Thana, Maharashtra): Shree Gurudev Ashram, 1976.

Yocum, Glenn E., trans. Hymns to the Dancing Siva: A Study of Manikka- vācakar's Tiruvācakam. Columbia, Missouri: South Asia Books, 1982.

V. SOURCES RELATING TO RELIGION, PHILOSOPHY, POETRY, AND HISTORY

Agrawala, Vasudeva S. Śiva Mahādeva: The Great God. Varanasi: Veda Academy, 1966.

Alper, Harvey P. "Siva and the Ubiquity of Consciousness: The Spaciousness of an Artful Yogi. Journal of Indian Philosophy 7 (1979) 345-407.

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Barnett, L. D. "Notes on the Saiva Siddhāntam," Le Muséon, Nouvelle Série X (1909), 271-77.

Basu, Arabinda. "Kashmir Saivism," Cultural Heritage of India. Edited by Haridas Bhattacharyya, 2nd rev. ed. in 5 vols. Calcutta: Ramakrishna Mission Institute of Culture, 1956, IV, 79-97.

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Kalhana's Rājatarangiņi: A Chronicle of the Kings of Kaśmir. Translated by M. A. Stein. 2 vols. Delhi: Motilal Banarsidass, reprint, 1979 (reprint of first edition, 1900).

Kane, Pandurang Vaman. History of Dharmaśāstra, Vol. IV. 2nd ed. Poona: Bhandarkar Oriental Research Institute, 1973.

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Kramrisch, Stella. The Presence of Siva. Princeton: Princeton University Press, 1981.

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Kumar, Frederick L. Philosophy of Saivism. New Delhi: Oxford and I. B. H. Publishing Co., 1980.

Bibliography

Kundu, Nundo Lall. Non-dualism in Śaiva and Śākta Philosophy. Calcutta: Sri Sri Bhairabi Jogeswari Math, [1964].

Lorenzen, David N. The Kāpālikas and Kālāmukhas: Two Lost Saivite Sects. New Delhi: Thomson Press (India) Limited, 1972.

Macdonell, Arthur A. A History of Sanskrit Literature. 2nd Indian ed. Delhi: Motilal Banarsidass, 1971.

"Hymns (Vedic)." Encyclopedia of Religion and Ethics. Edited by James Hastings. Edinburgh: T. and T. Clark, 1914, VII, 49-58.

Masson, J. L., and Patwardhan, M. V. Aesthetic Rapture. In 2 vols. Poona: Deccan College, 1970.

Mitra, Khagendranatha and Asutosh Bhattacharyya, "Diffusion of Socio- Religious Culture in North India," Cultural History of India. Edited by Haridas Bhattacharyya. 2nd rev. ed. in 5 vols. Calcutta: Ramakrishna Mission Institute of Culture, 1956, IV, 515-32.

Mudaliar, Rao Sahib N. Muragesa, "Saiva Literature," Cultural Heritage of India. Edited by Haridas Bhattacharyya. 2nd rev. ed. in 5 vols. Calcutta: Ramakrishna Mission Institute of Culture, 1956, V, 89-106.

Mukhopadhyaya, Pramathanath, "Tantra as a Way of Realization," Cultural Heritage of India. Belur Math, Calcutta: Sri Ramakrishna Centenary Committee, [1936], II, 165-89.

Muktananda, Swami. Introduction to Kashmir Shaivism. Oakland, California: S.Y.D.A. Foundation, rev. ed., 1977.

Meditate. Albany: State University of New York Press, 1980.

Secret of the Siddhas. Ganeshpuri, Maharashtra: Gurudeva Siddha Peeth, 1980.

Nagarajan, K. S. Contribution of Kashmir to Sanskrit Literature. Bangalore: Soobiah and Sons, 1970.

Nallaswami Pillai, J. M. Studies in Śaiva Siddhānta. Madras: Meykandan Press, 1911.

Narayana Ayyar, C. V. Origin and Early History of Saivism in South India. Madras University Historical Series, No. 6. Madras: University of Madras, 1936. .. 189

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Nilamata Purāna, The. Edited and Translated by Ved Kumari Ghai. 2.vols. Srinagar: J & K Academy of Art, Culture and Languages, 1973.

O'Flaherty, Wendy Doniger. Siva: The Erotic Ascetic. Oxford: Oxford University Press, 1973.

Padoux, André. Recherches sur la symbolique et l'énergie de la parole dans certains textes tantriques. Publications de l'Institut de Civilisation Indienne, Fasc. 21. Paris: Éditions E. de Boccard, 1975.

Pandey, Kanti Chandra. Abhinavagupta: An Historical and Philosophical Study. Chowkhamba Sanskrit Studies, No. 1. 2nd ed. Varanasi: Chowkhamba Sanskrit Series Office, 1963.

Pandey, Sangam Lal. Existence, Devotion and Freedom: The Philosophy of Ravidāsa. Allahabad: Darshan Peeth, 1965.

Pandit, B. N. Aspects of Kashmir Saivism. Srinagar: Utpal Publications, 1977.

Śrī Kāšmīra Šaiva Darsana. (In Hindi). Jammu: Śrī Ranbir Kendriya Sanskrit Vidyāpītha, 1973.

Plott, John C. A Philosophy of Devotion. Ist Indian edition. Delhi: Motilal Banarsidass, 1974.

Raina, A. K. "Contribution of Kashmir to Sanskrit Literature: An Introductory Survey," J & K Research Biannual, I, No. I (May, 1976), 13-16.

Raghavan, V. "Indian Poetry." Princeton Encyclopedia of Poetry and Poetics. Edited by Alex Preminger. Princeton: Princeton University Press, 1965, 384-94.

"Methods of Popular Religious Instruction in South India." Cultural Heritage of India. Edited by Haridas Bhattacharyya. 2nd rev. ed. in 5 vols. Calcutta: Ramakrishna Mission Institute of Culture, 1956, IV, 503-12.

The Number of Rasa-s. 2nd rev. ed. Adyar, Madras: The Adyar Library and Research Centre, 1967.

Raja, C. Kunhan. Survey of Sanskrit Literature. Bombay: Bharatiya Vidya Bhavan, 1962.

Rastogi, Navijivan. The Krama Tantricism of Kashmir, Vol. I. Delhi: Motilal Banarsidass, 1979.

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Ray, Sunil Chandra. Early History and Culture of Kashmir. 2nd rev. ed. New Delhi: Munshiram Manoharlal, 1970.

Renou, Louis and Jean Filliozat, L'Inde Classique: Mannel des Etudes Indiennes. Bibliotheque De L'Ecole Francaise D'Extreme-Orient, Vol. III. Paris: Imprimerie Nationale, 1953.

Rudrappa, J. Kashmir Saivism. Mysore: Prasaranga, University of Mysore, 1969.

Sakharpekar, S. G. "Evolution of Saivagamas." All India Oriental Conference, Proceedings and Transactions, Baroda, 1933.

Sastri, K. A. Nilakanta. "An Historical Sketch of Saivism." Cultural Heritage of India. Edited by Haridas Bhattacharyya. 2nd rev. ed. in 5 vols. Calcutta: Ramakrishna Mission Institute of Culture, 1956, IV, 63-78.

Sharma, L. N. Kashmir Saivism. Varanasi: Bharatiya Vidya Prakashan, 1972.

Siddhantashastree, R. K. Saivism through the Ages. New Delhi: Munshiram Manoharlal, 1975.

Sinha, Jadunath. Sākta Monism: The Cult of Sakti. Calcutta: Sinha Publishing House Pvt. Ltd., 1966.

Sircar, D. C., ed. The Sakti Cult and Tara: Proceedings of the Seminar on the Origin of Sakti Cult and Tārā (April, 1965). Calcutta: University of Calcutta, 1967.

Smith, Wilfred Cantwell. Towards a World Theology. Philadelphia: The Westminster Press, 1981.

Stein, M. A. "Memoir on Maps Illustrating the Ancient Geography of Kasmir." Journal of the Royal Asiatic Society of Bengal, New Series LXVIII, Part I, Extra No. 2 (1899), 1-232.

Sufi, Al-Hajj G. M. D. Kashir: A History of Kashmir, Vol. I. Lahore: University of the Panjab, 1948.

Tattwananda, Swami. The Vaisnava Sects, The Saiva Sects, Mother Worship. Calcutta: Nirmalendu Bikash Sen Gupta, no date given.

Thirugnanasambandhan, Sri P. The Concept of Bhakti. Madras: University of Madras, [1970].

Bibliography

Walimbe, Y. S. Abhinavagupta on Indian Aesthetics. Aesthetics, No. 2. Delhi: Ajanta Publications, 1980. Ajanta's Series on

Wayman, Alex. "The Human Body as Microcosm in India, Greek Cosmology, and Sixteenth-Century Europe." History of Religions, Vol. 22, No. 2 (Nov., 1982), 172-90.

Wilson, H. H. The Hindu History of Kashmir. 1st Indian ed. Calcutta: Susil Gupta (India) Private Limited, 1960.

Winternitz, M. A History of Indian Literature. Translated by S. Ketkar. 2 vols. New York: Russell and Russell, 1927.

Woodroffe, Sir John [Arthur Avalon] The World as Power. 3rd ed. Madras: Ganesh and Co. (Madras) Private Ltd., 1966.

VI. SOURCES RELATING TO EPIGRAPHY AND TEXTUAL CRITICISM

Bhäratīya Prachīn Lipi-Mālā. (In Hindi). New Delhi: Munshiram Manoharlal, 1971.

Bower Manuscripts, The. Edited by A. F. Rudolf Hoernle. Archaeological Survey of India, New Imperial Series, Vol. XXII, in 2 parts, text and plates. Calcutta: Superintendent of Government Printing, 1893-1912.

Bühler, Georg. Indian Paleography. Calcutta: Indian Studies: Past and Present, reprint, 1959.

Chhabra, B. Ch., ed. Antiquities of Chamba State, Part II: Mediaeval and Later Inscriptions. Memoirs of the Archaeological Survey of India, No. 72. New Delhi: Manager of Publications, 1957.

Critical Study of Sacred Texts, The. Edited by Wendy Doniger O'Flaherty. Berkeley Religious Studies Series. Berkeley: Graduate Theological Union, 1979.

Grierson, George A. A Manual of the Kashmiri Language, Vol. I. Oxford: Clarendon Press, 1911.

Katre, S. M. Introduction to Indian Textual Criticism. Poona: Deccan College Post-graduate and Research Institute, 1954.

192

Bibliography

Kaul, Jayalal. Studies in Kashmiri. Śrinagar: Kapoor Brothers, 1968.

Kaye, G. R., ed. The Bakhshali Manuscript. Archaeological Survey of India, New Imperial Series, Vol. XLIII, parts I and II. Calcutta: Government of India, 1927.

Linguistic Survey of India, Vol. VII, Part II: Indo-Aryan Family. North-Western Group. Edited by G. A. Grierson. Delhi: Motilal Banarsidass, 1968 (reprint of first edition, 1919).

Macdonell, Arthur A. A Sanskrit Grammar for Students. Delhi: Motilal Banarsidass, second reprint, 1979 (1926).

Monier-Williams, Sir Monier. A Sanskrit-English Dictionary. Delhi: Motilal Banarsidass, reprint, 1979.

Raina, Krishna. Hindi aur Kaśmīrī Nirguņ Sant-Kāvya: Tultātmak Adhyayan. (In Hindi). New Delhi: Śārada Prakāśan, 1979.

Sircar, D. C. Indian Epigraphy. Delhi: Motilal Banarsidass, 1965.

Wade, Reverend T. R. A Grammar of the Kashmiri Language. London: Society for Promoting Christian Knowledge, 1888.

Wayman, Alex. Analysis of the Śrāvakabhūmi Manuscript. Berkeley: University of California Press, 1961.

193

Index

Abhasas ("manifestations"), 169. See also Siva; manifestations of Dhavamony, Mariasusai, 24

Abhinavagupta, 1, 25, 169 Duality: overcoming sense of, 13

Āgama Śāstra, 169 Agrawala, Vasudeva S., 177 Ghosts, 23

Alper, Harvey P., 17 Gods: Hindu, 25; Vedic, 11, 44n, 55n

Amrta ("nectar"), 12 Grace. See Anugraha

Ānanda upāya ("the way of bliss"), 5 Guņas, 87n

Āņava upāya ("the path of Householder, 3 minuteness"), 4-5 Animā (the power to acquire infinitely Icchā upāya ("the way of the will"), small size), 14, 20 Anubhāva Sūtra, 17 5, 21

Anugraha ("grace"), 15-18, 170-171 Indriyas (faculties of sense), 8. See

Anupāya ("without a way or path"), also Senses: realm of

5,21 Jñāna (intellectual knowledge), 12

Basu, Arabinda, 16 Jñāna upāya ("the way of knowledge"),

Bhakti ("devotion"), 13, 18; and 5, 13,20

anugraha ("grace"), 15-18; path Joo, Swami Lakşman, 3

of, 5,.21 Kalā ("authorship"), 7 Bhedābheda, 14 Bhedābheda upāya ("the way of Kāla ("time, mortality"), 7

difference and nondifference"), 5 Kañcukas ("coverings" of māyā), 7, 84n, 169

Cakras, 10-11 Kashmir; Saivism in, 1, 22, 169-71

Citi (divine consciousness as the body Kaw, R. K., 177, 178

of Sakti), 6 Knots: and spiritual bondage, 11, 15 Kridā ("play"), 21

Devanāgarī script, 3, 174-75 Kşemarāja, 1

Devi, 7, 11, 15 Devotion. See Bhakti Madhurāja-yogin, 25 Malas ("impurities" of māyā), 84n, 169

195

Index

Mantras, 5 Śāradā script, 3, 174-75 Māyā (the power of illusion), 7, 19, Senses: realm of, 4-5, 9 33n, 169 Siddha ("perfected being"), 1, 23, 93n Mukhopadhyaya, Pramathanath, 177 Siddhis ("Perfections," i.e., powers), Muktananda, Swami, 177 13-14, 98n Śiva: city of, 7, 10-11; manifestations Nādis ("channels"), 5, 10 Nimeşa ("closing down"), 170 of, 7, 169-70; names and forms of, 22; path of, 5, 21-22; powers of, Niyati (pervasiveness of space), 7 7, 22; realization of, 4, 12-14, 23,

Śivarasa, 9 169-70; the world as, 4, 17-18, 23 Pañcakrtyas ("five functions" of Šiva), 170 Śivastotrāvali: as "sacred stream," 25; Pandit, B. N., 177 literary form of, I-3, 24; Paśu: and pati, 170 Patañjali: Yogasūtra of, 5, 14 manuscripts of, 3, 173-76;

Powers; magical, 14. See also Siddhis. Sanskrit meters in, 24; textual

Prakāša, 16-18 tradition of, 2-3, 173-75; verses used most frequently in worship, Prāņāyāma (control of the breath), 5 Pratyabhijñā Śāstra, 1, 7-9, 18, 169-70 22. See also Utpaladeva.

Pratyabhijñā upāya ("the way of Somānanda: 169; Sivadrsti of, 17 Spanda (universal cosmic vibration), recognition"), 5 17-18, 21 Pratyāhāra (withdrawal from objects Spanda Sāstra, 169 of the senses), 31n Śrīkaņțha (an epithet of Śiva), 25 Stotra ("song, hymn, laudatory verse"), Rāga, 7-8 1, 24-25 Rasa, 9 Svātantrya (absolute freedom), 21, 170. Recognition, Doctrine of. See See also Siva: realization of Pratyabhijñā Śāstra Rhodes, Constantina Eleni, 177 Tamil: bhakti poetry in, 19 Rudrappa, J., 177 Tattvas (constituents of the universe),

Sacrifice: inner, 7-8 94n, 169-70

Śākta upāya ("the way of power"), Trika Śāstra, 169

5, 13,17 Śakti, 6, 11, 169; as power of the natural Unmeşa ("opening out"), 170 Upāyas ("paths, ways"), 4-5, 170. world, 13, 170 Śaktipāta ("the descent of power"), 2, 7 See also Āņava upāya; Šākta

Samāveśa (immersion), 170. See also upāya; Sāmbhava upāya; and

Śiva: realization of Anupāya.

Śāmbhava upāya ("the way of Sambhu Utpaladeva, 1-2, 25, 169

or Siva"), 5, 21 Samsāra, 7, 10, 169-70 Vimarśa, 16-18 Vidyā ("knowledge"), 7

196