WAVE OF 'BLISS

ANANDALAHARi
SANSKRIT TEXT
WITH
ENGLISH TRANSLATION AND COMMENTARY
BY
AR,THUR AVALON
TOGETHER WITH
SAUBHAGYAVARDHANI
(THE SANSKRIT COMMENTARY BY S'RI KAIVALYXS'RAMA)
AND FORBWORD BY
-
SRI S. ANANTHARAMA AYYAR, B.A., B.L,
Pourlll BlliHon
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PoBLtiDBS :
GA.Bllld II Co., .(KADBA.B) t.TP., MADBA8-1f
.....
Fourth Edition 7953
Printed by D. V. Syamala Rau, at the Vasanta Press.
The Theosophical Society, Adyar, Madras 20

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FOREWORD
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THE necessity and importance of Mother Worship and the
superiority of that worship over others have been proclaimed
by the Vedas, the and the great Seers of India
like S'ri S'ari1kara. Why? No S'akti-no movement, no action,
no function, inclusive of Creation, Preservation and Destruc-
tion

From dawn to dusk and throughout

the whole night are we not floating, as it were, in the ocean
of Her special MArcy and Love, protected on all sides by
Her ever vigilant Hand from the storms and tempestuous
waves of life? Can anybody deny the fact that our Mother
is ever showering Her Love, Mercy and Grace on all
creatures, high and low, rich and poor, strong and weak,
alike, with a wakefulness, that lmows no fatigue and with an
interest, that suffers no slackness.? In fact, the Mother's
heart is ever knit with the child's heart with the silken thread
of Lo\e, Mercy and Grace, regardless of the child's vagaries,
idiosyncrasies and perversitiP.s. The door of Her Mercy is
never shut, the gates of Her Grace are never closed but ever
open to the suppliant. '' fo!Jslt 'irTito if Is r:ot
this mother worship enforced as a daily duty to every Hindu?
I " Is it not the Mother, who
bcati.rs our hearts and guides nd helps us in our struggles
iv WAVE OF BLISS
and conflicts \'Vith the temptations of life? Is it not the
Mother, who chastises us when we rebel and go wrong,
who cheers us when we are dutiful and obedient to Her
laws, who grants all our desires when we sincerely yearn, who
leads us to the Saints and Seers, whose c.ontact makes our
mind pure and truly spiritual? Is not the Mother like the
balmy breeze to the drooping frame, like the charming music
to the heavy heart, the vernal shower to the withering
the silver stream to the weary hart and the shining star to the
wayfarer lost in the wilderness? Can anybody deny the
spontaneity of Her Love, the abundance of Her Grace, the
purity and the illimitable and the inimitable character of Her
Mercy? As such, who but She can be the cheribhed object of
our personal and unstinted gratitude, devotion and lo\'e?
Human child, a microscopic atom in the Creation of
God! blot out the monster of Egoism in you, the root cause
of all ruination; eradicate the most deadly poison of Ingrati-
tude, 's!larper than a serpent's tooth' from your mind, medi-
tate on your Mother's Love, Grace and Mercy, surrender Thy
self to Her cheerfully and absolutely and save yourself.
Lord Parames'vara, out of His abundant Love and with
a view to save humanity, lost and bewildered in the wilder-
ness of [gnorance (Ajnana) and encircled and tormented by
the wild fire of Samsara, left off His mouna (silence) under
the Sacred Banyan tree and came to this world in the garb of
S'ri S'ankara.
''
51Hi it'"rr. I
,n;i q(l;fci(;fq-1l f.:lr.qcr--c:ir
11 ''
S'r1 S'ankara lived only for 32 years and during the short
span of life, He has done wonderful things to revivf', in its
pristine the .. grand religion of the U pani,ads, (" the
. J'ORI!WOltl) .
v
solace of one's life" as Schaupenhaur puts it) and He also
composed many hymns for the benefit of humanity. Of these
hymns, Suund,uyalahari is the most magnificent, whether con
sidered as a hymn or as a Tantra of S'ri- Vidya. The first 41
slokas of this hymn are known as Anandalahari. No other
hymn has so many commentaries as this work. It has about
35 commentaries, the most common and wellknown of which
are those of Lak!?midhara, KaivalyaS'rama, Kt1mesvara-Suri,
Appayya-Dik!jiita, etc. Of these Kaivalyasrama's commentary,
by name Saubhzzgyavardhani is a work of great merit and is
"the most popular in I nclia ". This is evident from the fact
that this commentary is referred to by the talented com-
mentator, Kames'vara-Suri and by two of the greatest
protagonists of S'ri-Vidya, Arthur Avalon and Anantha-
krishna Sastriar and on a perusal of their commentary under
sloka, 1, 14 and 36 to 41 of Anandalahari. He also gives
a new interpretation of the term so as to
mean that this has five-fold stages or DasJs, namely genera-
tiel', increase, activity, changes destruction. Somehow it
does not seem to have been published so far. This commen-
tator Kaivalyas'rarr:in is k11own to have written the following
two other works viz. Stutikzzmadhemt and Tripurasundari-
varivasy-avidhi. My friend Mr. Hamachandra Sarma has, I
am happy to state, been working in the field of research
on this Brahm a- Vidya for the past several years and has
published Bhavanopanishad and Laghustuti. He has now
published this rare work SaubkllgyavardhanJ. I sincercJy
pray that our Universal Mother may bless him with success.
I have also to thank Mr. Subbaiya of Messrs. Ganesh & Co.
who has been evincing keen interest in publishiPg su.ch works
and who has undertaken to publish this work also.
I wish to conclude this humble foreword of mine witl1 a
quotation from an eminent writer on "the true spirit of
worship,. and with prayers to our Universal Mother.
yj
WAVE OF BLISS
11
The true spirit of worship is the sacrifice, the entire
of the sense-bewitched self, with its desires and
until the soul learns completely to confide and
joyfully to possess its all, in God. Man's career in We ought
to like the railway journey of a little child, with no ticket to
purchase, no benh to reserve, no luggage to book, no pro
visions to carry, seated on the mother's lap, nvurished in the
mother's bosom, secure in the mother's arms, restful under
the mother's smiles, the darling cherub is conveyed to its
destination, enjoying the freedom from care, that a sage
would covet and commanding a solicitousness and attention,
which a prince would envy. Truly the full formation of this
child-spirit is the perfection of the Sadhan of worship".
"May our Universal Mother, the embodiment of Sat,
Cit, Ananda, vouchsafe unto us, in the abundance of Her
Grace and the fulness of Her Mercy, a wholehearted devotion
to Her allcontrolling Purpose, a cheerful obedience to Her
ali-govtrning Will, a conscious participati0n in her all-saving
Grace, a rapturous delight in Her all-entici11g Beauty, a
direct vision of Her indwelling Glory, and ultimately a
persLmal communion with Her Immanent Spirit".
"Lead me, kindly Light, amid the encircling gloom, the
appalling tumult, the gaping, yawning, engulfing abyss, the
receding light. Lead me on, Kindly Light; not my course
but Thy course; not my purpose but Thy purpose; not my
will but Thy will ; not as a cross to be borne but as a joy to be
realised, a strength to be acquired, a success to be achieved".
" Sri V idya "
K alladakurichi
12th July, 1953
S. AN ANTHARAMA A \"YAR
Foreword
Preface
Translation
PAGE
iii-vi
1-6
7-38
Sanskrit Text and Commentary 168
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S S I ' I f i . i O : ! I A V . M .
PREFACE
THIS celebrated poem together with the "Wave of Beauty
11
(Saundarya-lahari) which follows after verse 41, is commonly
attributed in India to the great Vedantin Scholastic S'arhkara-
carya, as is also the other Hymn of the same name translated
in "Hymns to the Goddess" by my wife and myself. The
text used is that given in the second part of S'arhkaracarya's
Granthavali edited by Prasanna Kum'itra S7tstri (Calcutta
1316 B.S. 1908). This contains the commentary of Achyuta-
nanda. I have also made use of Pandit
S'itstri's commentary on the poem which largely follows the
commentary of The "Wave of Bliss
11
deals
with the bodily centres Ku:r;tdall- Yoga and other Tantrik
subjects. With the former I have dealt in my work now in
preparation on the " Serpent Power". To this the reader is
referred. I have also said something there as to the present
work and its numerous commentaries.
On the question of S'arhkara's alleged authorship of
" Tantrik, works the reader is referred to an article in the
Calcutta Review (July, 1915) by Mahamahopadhyaya Satii}-
Chandra Vidyllbhflliart-a. The latter also at my request was
good enough to send me the following note compiled under
his guidance and instruction by his student and research
scholar Dinesh Chandra Bhattachczrya on the poem the first
41 verses of which are called Anandalahari and the remaining
Saundaryalahari. (See notes to v. 41 post.)
(Vide preface in the Mysore Ed. with Lak11midhara's
commentary.)
WAVE OF BLISS
11
It is not easy to trace verses from the Saundarya-lahari
in any standard work of high antiquity a.s the Stotras handed
down orally for recitation are r.ot generally quoted in support
of any statement so long as there are original works to draw
upon. Nevertheless a verse from the Saundarya-lahari is
found quoted in the famous anthology of Valla-
bhadeva as from S'ri S'arhkaracarya (No. 3525-\ilqr
etc.) The antiquity if not also the authenticity of
S'arhkara's Saundarya-lahari is, however, sufficiently ensured
by the fact that it has got by far the largest number of com-
mentaries (in Stotra literature). Some 35 are known to exist
in different parts of India- a fact which at least affords greater
proof of genuineness than can be produced for the rest of the
very large numbP.r of Stotras and miscelianeous poems
ascribed to S'atnkara. That the great S'aivite Jeader was the
author of a number of poems besides his monumental works
on Verlanta is in our opinion very clearly corroborated by a
stanza of R7tjas'ekhara (circa A.D. 900) quoted in the Sakti-
'Jnuktilvali o{ J alha?J-f.l. (thirteenth century)-
JJleq1CJ;'1TCJ;(qf(! ft 1
fCJ;qfq cnoft II
(Bhandarkar's Report, 1897, p. XII). (There is a pun on
the words of S'arhkara, sweet as they are by nature
being composed in the poetic art of have a peculiar
relish for one whose mind is in S'arhkara, i.e., S'iva).
''The commentators mostly, though not unanimously
ascribP. the authorship to who is said to
refer to himself as in verse 75. But according to
the late S'astrJ (vide Catalogue of MSS . pt. 2,
pp. 92-98) the reference is to an event in the life of one of
the 63 S'aivit.e Saints of Southern India and he finds simi-
lar references to several other of those saints in two other
PREFACE
3
poems of S'arilkara. The earliest commentators, by their
manner leave us in no doubt as to the fact of S'amkara's
authorship. Kaivalyas'rama, whose date is unknown, but who,
from the nature of the works he quotes, seems to be an early
commentator begins "W"JC{FI.

etc." Kaivalyas'rama by the way makes an important remark
which may throw some light on the place of origin of the
poem; in stating that the verse etc., is an
interpolation he says "iffq W<fi:
(Malabar?) qffi iflfq (vide
Aufrecht's Oxford Cat.) Both Kaivalyas'rma and Lakfimi-
dhara (fl. under Prataprudradeva of Orissa, 1504-32, not in
the 14th century as the Mysore editors surmise) refer to a
work ito:IT\+rr which happens to be an earlier commentary on
four Chapters of the Anandalahari by Saltajanandtznatha,
pupil or' Saccd(Jnanda, the latter being described as
SaccidZlnanda actually
occurs in the succession list of Gurus at Sp'lgeri Math
(vide Descriptive Catalogue of Madras MSS., vol. XIX,
p. 7606) and the commentary of one so connected with the very
Sarhpradaya of S'arilkaracarya is some proof on the question
of authorship.
"LakfimJdhara cites as a work of the S'aivagama
ascribed to S'arhkaracarya (mark speci1.lly on page 126 fcfRf\fg
igfaoll:)-Ramnnanda, author of a fslgitqf.:tqr!XIJI_
thus refers to this work.
1
II
LakfimJdhara on page 123 quotes a half verse as from
also by S'amkaracarya. This is in our opinion
a commentary on a Stotra (of Subhaga a manifestation of
4 WAVE OF BLISS
S'akti) also called ascribed to Gaudafilldllcllrya. These
show that an extensive literature existed on the S'aivagama
in the time of S'arhkaracarya, viz., the a Tantrik work
with its commentary by Padmaplld7lcllrya, the famous pupil
of S'arhkara (quoted very frequently by Rllghava-Bhatta who
wrote his commentary on Saradlltilaka in A.D. 1493).
and its commentary again by PadmajJ7ldllc7lrya
{p. 235), etc. It is necessary therefore to disprove the existence
(quoted by Bhllskarllcllrya in his commentary on +tJCJi'llqf.:rtt.)
or ascription of all these numerous works before the authenti-
city of S'arhkara's Saundarya-lahari is put in doubt."
Speaking for myself the nature and worth of a work is of
more importance than its authorship. I am content to leave
these historical questions, which do not greatly concern me, to
others who are more competent to deal with them. I therefore
have no opinion of my own to offer on this debated poin-t-a
position I also took up in the Introduction I wrote for the
Prapancas7lra Tantra (vol. III, Tantrik Texts). This did not
however save me from the misrepresentation of one critic who,
apparently anxious to convict me of something, made me out
as saying that S'arhkaracarya (that is Adi-S'arhkara) was the
author of that Tantrik work when I had done nothing of the
kind. Amongst other matters yet to be determined is the
age of the Adi-S'arhkara himself. I may however take this
opportunity of writing that since then a writer in one of the
Indian journals has given the following list of well-known
writers who, he writes, support the traditional authorship
namely: Amalllnanda Yatindra (contemporary of Hemlldri,
the author of Caturvarga Cintllmatti), in his Vedantakatpa-
taru quotes from the Prapancasllra of S'arhkara whom he calls
Bhagavatpada. his brother Madhava, Rllghava-
Bhatta commentator on the S'arada-Tilaka and NilakaQta in
his Tika on the Devt-Bhllgavata are quoted to support the
PREFACE
5
tradition ; as also Nrsiinha in his
11
Durgapradipa" and
"TCZriZbhaktisudh'llrtr-ava" Appaya Dikf!ita and the Bengali
Pandits Raghunandana and Krlitta-Candra-Agamavt:lgis'a. As
against this another writer attributes the Prapaficasara to
11
a Tantrik S'arnkara of Bengal in the early fifteenth century"
stating that all Tantrik works which go under the name of
S'amkara-(and therefore presumably the present one) are by
him. The same writer affirms that in many of the Hindu
almanacs be names an era called S'arhkarabda which is some
thirtysix years earlier than that which bears the name of
Chaitanya. As against these confident statements, we have
the following facts noted in the review of vol. II I of the
Tantrik Texts under the initials of Mahamahopadhyaya Sati[i-
Candra Vidyabhufiatr-a (Calcutta Review of Mc..y, 1903) to
which I have already referred. He states that the Prapafica-
sara cannot be the work any S'ari1kara of the fifteenth century.
For Sllyatt"ilcczrya (flor. 1350) wrote a commentary on the
Prapaficasara known as the Prapaficast:lra-Saingraha. The
Prapaficasara is mentioned in the Vedantakalpataru (Adhyaya
I, Pad. 3, AdhikaraQa 8, Sutra 33) a work composed about
1210 which speaks of the Prapancas71ra as written by Acarya
which in that work means the author of the S't1rirakaBhafiya
who is said according to European Orientalists to have lived
A.D. 788-8.20. According to some Indian notions .A.di-S'arilkara
is here confused with Abhinava Sainkara who at the Kama-
k o ~ i p i ~ a at Kafi.ci was the 38th successor of Adi-S'amkara
who lived in the 6th century B.C. {See " The Age of S'arnkara,"
by T. S. Nztrllyatta Sastri). Again R'llghava Bhatta in the
commentary on the S'arada-tilaka (431 Benares Ed.) quotes
the interpretation by PadmaPildiZc'llrya of V, 31, Patala 32 of
Prapaflcasara. He wrote a commentary on the work and
was the disciple of S'amkara. To these facts I may add
another which has since been brought to my notice namely
that the commentary of the Nrsiinha-tiZpani Upanifad by
6 WAVE OF BLISS
Sarilkara refers to the Prapancastzra as having been written by
the commentator of the U pani$ad. The critic who advancP.s
the claims of the fifteenth century S'amkara was doubtless
correct in saying that we must upon the question of authorship
look also to mternal evidence as afforded by the character of
the work. He is however in error in speaking of the Pra-
pancasllra, with which he seems to be unacquainted, as being
dualistic. How can a Tantra which (to mention but one
instance) counsels the Sadhaka to realise the Mahavakya
" He I am" (So'ham) be other than monistic? Whether the
monism is that of t!-le Mayavada Scho0l is another matter.
I am, however, as I have already said, content to leave all
these questions to the PaQ.dits and others interested in histor-
ical questions, who, I am sure wiil give them all the attention
which they are worth. It is sufficient for my purposes that
the Anandalahari is universally acknowledged to be an
ancient and authoritative Tantrik work the Text of and
commentaries on which have great intrinsic value to all
students and followers of the Agama.
I might have enlarged the commentary in many cases to
the advantage of the reader but considered it unnecessary
seeing that I have {as above stated) more fully dealt with the
subject in my work (now in press) on "The Serpent Power".
What I have here given will I trust make this great poem at
least superficially intelligible to those unacquainted with the
matters with which it deals.
10th June, 1916
ON THE PADMA
ARTHUR AVALON
WAVE OF BLISS
ANANDALAHARi
VERSE 1
ONLY when united with S'akti' has S'iva power to create, but
without Her the Deva cannot even stir. How then can I
without worth, bow down to (One so great Thee or sing
Thy praises-Thou Who are served by Hari, Hara, Viriflci
and others.
COMMENTARY
S'iva can do nothing without S'akti which is of threefold aspect
as Icchii {will), Jfiana (knowledge), and Kriyii (action). The author
here speaks of the Mantra Hathsah. Ham is the Bija of S'iva and
Sah that of S'akti. Ham+Sah=Hathsah=Sah+Ham=So Ham=
So'Ham=Sah+Aham, So Ham being Sah+Harh=S'akti+S'iva; if
S and H be eliminated therefrom there remains Ong or Om the
Pral}ava. Prapaiicasara (vol. III, Tantrik Texts), IV, 21. The
Harhsah is thus the Pral}ava in a slightly gross form. This is the first
state of Spandana. HSAUH is the Pretabija. In this S'iva (H) and
S'akti (S) arc in a state of quiescence during Pralaya. Preta (Pra+
ita) means "completely gone". This precedes the state when S'akti
becomes Ucchuna. The Supreme Hathsah is the cosmic breath. Ham
is the outgoing breath which symbolises creation and Sah the ingoing
breath which in a cosmic sense is dissolution. i.e., the
Brahman says to Brahma "The duration of your life is my outgoing
breath "-Taviiyur Mama NiS'S'Viisah (Prapaficasara, 1). The union
8 WAVE OF BLISS
of S'iva and S'akti is shown also in the articulated consonant letters.
The consonants by themselves which are S'iva cannot be articulated.
It is by their union with the vowel sounds which are S'akti that they
can be articulated. The letters of the Alphabet are called Ak9ara
(imperishable). At the time of Pralaya they are not destroyed but
remain dissolved in the Ni-:;;kala Brahman. S'ruti "
paramarh Brahma." Thus both S'iva and S'akti are imperishable
Their union is symbolised by the figures of nine triangles
four of which represent S'iva and five S'akti. S'iva as the Supreme
is worshipped by Hari, Hara and Virifici who are the Trinity
(Trimiirti) Rudra and Brahma. These three are mentioned by
name as they are in Orhkara which is formed by the combination of
A, U, M. A is Hari or Vi9QU the protector, U is Hara or Rudra
the withdrawer and M is Brahma or Virifici the creator. Orhkara-
the subtile Harhsah is the first of Vedik Mantras. By saying that
She is " served by Hari, Hara, Virifici" the intention is to show that
she is adored by the Vedik Mantras the first of which is Othkara.
The which is a part of the Great Vamakesvara
Tantra contains a Verse (iv, 7) which says: "Without S'akti the
subtile S'iva has neither a name nor manifestation (Dhama= PrakaS'a)."
The Devi-Bhagavata also says: "Even S'iva bereft of KuQQ.alini
S'akti becomes S'ava (corpse)."
VERSE 2
VIRINCI created the worlds from the tiny speck of dust whieh
he gathered from Thy lotus-feet. S'auri upholds them on
his thousand heads with all his great might; and Hara having
reduced them to ashes, besmears himself therewith.
COMMENTARY
S'akti is Cause of the Universes which are countless and which,
countless though they be, are yet nothing but a transformation of a
speck of the dust of S'akti's feet. The power of Brahmi (Virincl)
and other Devatas is derived from Her, who manifests the universe
WAVE OF BLISS 9
with the aid of the Gm;tas. These Gut:tas, namely, Sattva, Rajas,
Tamas are lcca, Kriya, J fiana S'akti's of the Brahman viewed object-
ively. Hara or Rudra besmeared with a5hes is the power of dissolu-
tion. In His case the ashes are those of the worlds which He has
destroyed. S'auri (=mighty one) is Narayal}a or As Ananta
{the endless one) he is the great Serpent with a thousand heads who
upholds the Universes. See Puru!}a Siikta: " SahasraS'Ir!}ii. Puru!}ah,
sahasriik!}ah sahasrapat."
This verse speaks of the illimitable character of the Devi's Great-
ness compared with which the powers of creation and so forth, great
as they are, are insignificant.
VERSE 3
Thou :1rt the Sun which illumines the inner darkness of
the ignorant. Thou art the channel running with the honey
of Consciousness for the unknowing. Thou art the Rosary of
CintamaQ.i stones of the poor and the tusk of the boar Muraripu
for such as are sunk in the ocean of births (and deaths).
COMMENTARY
Worship of S'akti dispels ignorance. In the original text
consciousness is spoken of as Caitanyastabaka, i.e., a bunch
(Stabaka) of consciousness. The worshipper of the Devi is rewarded
with the essence of all forms of consciousness. Desires are fulfilled ;
bliss gained and so is Liberation. " Channel running with," etc. :
that is She is the Giver of special knowledge {ViS'e!?ajfiana) to the
ignorant. Cintiimat:ti is a Gem which grants all wishes. The Devi
is DiinaS'akti-the source of all blessings. She is spoken of as the
rosary of Cintiimat:ti as it is through Her Grace that the lf?tadevata
may be attained. The Devi is the rosary of the poor who obtain the
fulfilment of their desires from Her. Muraripu (Enemy of Mura) is
a name of as the destroyer of the Daitya Mura, incarnated as
the Boar (Variiha) incarnation (Avatara). She raises and gives
to
WAVE OF BLISS
liberation to those immersed in worldly action ; so powerful is She-
just as the Boar raised with His tusk the world which was immersed
in the Great Waters.
VERSE 4
ALL other Devas grant desires and dispel fear by the ges-
tures of their hands. But not Thou Who alone, having
granted freedom from fear, and the fulfilment of desires, even
with Thy feet art thus, Oh protectress of the worlds, able to
save from fear and to grant even more than the fruit of (our)
desires.
COMMENTARY
What the Devatas do with their hands She does with Her feet :
indicative of the superiority of S'akti. In the Dhyana of Tripura
sundari in Vamakesvara Tantra, Tantraraja (Tantrik Texts, VIII)
(Tantrik Texts, XI) She is not shown as making
the gestures of granting boons and dispelling fear with Her hands.
Achyutananrla observes that what others have to accomplish by their
gestures the Devi Tripurasundari does without any effort. Some
Devas grant heaven (Svarga) and others liberation S'akti
gives both enjoyment (Bhukti) and liberation (Mukti). This verse
contains the Balii. Mantra: Aim Kliril Sauh.
VERSE 5
IN ancient days Hari through having worshipped Thee the
Giver of prosperity to Thy devotees was able on taking the
form of a (charming) woman to stir even the mind of S'iva the
destroyer of the three cities. Smara too through worshipping
Thee was powerful to raise passion even in the minds of great
sages by his charming body so greatly pleasing to the eyes
of Rati.
WAVE OF BLISS 11
COMMENTARY
The first sentence refers to the assumption by Vi!?t;lU of the
MohiniMiirti. S'iva though a Yogi and the Destroyer of t h ~ three
cities of the great Asuras could not resist the Devi's power exerted
through Hari in the form of the beautiful woman Mohini. Smara is
Kama the God of Love whose consort is Rati. At the time of
worship of Tripnra Devi both Rati and Kama are first worshipped at
the place of entrance. This verse can be, says Achyutananda, inter-
preted another way. Instead of reading Pral)atajanasaubhagyajanani
in the accusative it may be read in the vocative case with In joined
to it by Samdhi. The translation should then begin: "0 Thou who
grantest prosperity to Thy devotees, in ancient days, Hari through
having worshipped Thee as I (i.e., Kamakala) was able to take the
form of a woman and so forth." See Tantraraja and Kamakala-
vilasa. This verse contains the Vidya called Sadhya-siddhasana
vidya. H and R in the word Hari, long I and Anusvara {m) in the
word Jananim, spell the Bija Hrim. The word Smara (Kama}
indicates the Kama Bija or Klim. V in the word Vapuh, Le in the
word Lehya, and Anusvara in the word M uninam spell the Bija
Blerh. The Vidya is therefore Hrirh, Klim, Blem.
VERSE 6
BLESSED by the favour of a wondrous side glance from Thine
eyes, 0 daughter of the Himalaya Mountain! the Bodiless
Kama with a bow of flowers, a bow string of black bees, five
(floral) arrows, Spring as his charioteer and the Malaya wind
for a war chariot alone (and without other aid) conquers the
whole world.
COMMENTARY
The Bodiless One (Ananga) is Kama the Deva of Love whose
body was destroyed by fire from the third eye of S'iva when he sought
to disturb His Yoga by exciting passion in Him for His consort
12 WAVE OF BLISS
Parvati. The destruction of Kama (desire) by the third eye (of Jiiana
or wisdom) denotes the conquest of Kama by Jiiii.na. Having the
Devi's grace he does not require formidable weapons. He can conquer
the whole world with his sweet soft weapons of love, made of the
flowers and bees seated with his chief attendant the short Spring
Season of love in His chariot which is the gently blowing wind from
the Malaya mountains. The Kama Bija " Klim " is here indicated
and is extracted as follows. K from Kamapi, L from Malaya, long
I from Maurvi, a.ud Bindu (m) from
VERSE 7
MAY She who is the Pride of S'iva appear before us with large
full breasts like the temples of a young elephant, with slender
waist girdled with tingling bells, Her face like the full moon
holding bow, arrow, noose and a goad in Her hands.
COMMENTARY
The Pride of S'iva (Puramathitur aharh-
karariipa). This is the popular interpretation. The inner meaning
is that S'iva as Prakasa sees Himself reflected in Her the VimarS'a
sakti and becomes conscious of Himself. This is very fully illustrated
in Kama-Kala- Vilasa. like Aharhkara is popularly
interpreted to mean ' pride ' but its primary significance and that is
the sense here, is the consciousness of one's self: 'I am'. Pura
mathita (destroyer of Pura) is a name of S'iva: Cf. Tripurari.
" Blum" the Vasini-Bija is here delivered; B being taken from
the word Bal}a, L from the word Karatala, U from the word Pura
mathituh and Bindu from the word Astam.
VERSE 8
Fortunate indeed are the few, who worship Thee the
Wave of Consciousness and Bliss, Whose abode is that couch
WAVE OF BLISS 13
which is Paramas'iva the supports whereof are the (four) S'ivas
in the house of Cintamal)i, adorned with a garden of Nipa
Trees, which is in the Island of Gems surrounded with a
grove of celestial trees, in the midst of the Ocean of Nectar.
COMMENTARY
Here the Sthiila-S'aktimiirti (gross S'akti form) is contemplated
in the heart between the three lower and three higher psychic centres.
The text may also mean "whose abode is the couch which is Parama-
S'iva's
11
that is who is united with Paramasiva in the Prar;tava; the
Nada over the Orhkara being the couch on which is resting the
Parama-S'iva in his Bindu form. The Bindu is S'iva and S'akti.
A, U, M, Nada, Bindu, the five component parts of" Orh
11
and the
S'ricakra (Yantra) are here referred to. Cintamar;ti is the jewel
which grants all desires. The well-known Tiintrik meditation in the
heart lotus of worship below the Aniihata is here referred to. The
Bahuriipii!;itaka and Bhairavayiimala say " There is the supreme
temple (Mandira) of Devi full of Cintamar;ti stones. The great couch
is S'iva (Parama-S'iva). On that couch the cushion (KaS'ipu, i.e.,
Mattress) is SadiiS'iva; the pillow (U pabarhal)a) the great lS'ana. The
four suppmts (pada) are lS'iina, Rudra, Hari, Brahma: and the great
Indra is the spittoon (Patadgrhr:ta). On that bed Oh great lsana!
reclines the supreme Tripurasundari.
11
Hence the Devi in the Lalita,
v. 22 is called Paiicabrahmasanasthitii..
By " Ocean of Nectar
11
(Sudhasindhu) is meant Kulamrta
Karar;tavari (consecrated wine). In this verse are the Bijas of
KameS'vari (Klirh) and Mahapreta (Hsauh).
VERSE 9
Oh Devi, having pierced Earth in Muladhara, Fire in
Water in Ma:r;tipura, Air in the heart, Etber
above it, and Manas between the eye-brows, and having thus
passed through the whole of the Kula way, thou dost enjoy
with Thy Lord in the secret Sahasrara lotus.
14
WAVE OF BLISS
COMMENTARY
The ascent of Kul)Q.ali is here mentioned as described in the
Yoga dealt with. This is Antarayaga. The Body of KuQQ.ali has
eight parts (Anga), namely, the six centres Miiladhara to Aji'ia-
Cakra and S'iva Her Lord. The six centres are temporary stages
where KuQQ.ali rests for a while to make Herself Mistress of that plane
of being. As PaQdit R. S'astri (in his Commentary
on this poem) points out there is a great temptation to the Yogi to
stay at these lower centres as luxurious happiness is there experienced.
But the Sahasrara is the permanent abode and this is his ultimate
aim. There the interblcnding takes place previous to which the
individual consciousness is retained. In this verse KuQQ.ali is
described as having broken through the six psychic centres and
reached the causal (KaraQa) plane.
The places of Fire and Water as given here and in V. 37 post
differ from those in the $atchakra NiriipaQa; also see my "Serpent
Power".
VERSE 10
THEN again, having made manifest the Cakras by sprinkling
them with the streaming shower of nectar which flows from
Thy two feet, Thou attainest Thine own abode and having
assumed Thine own form, serpent-like with threefold coils
Thou sleepest in the c:tvity of the Kulaku1,1da.
COMMENTARY
V. 9 described the ascent and, this the descent or return of
KuQQ.ali from the Sahasrli.ra or upper S'ricakra to the remaining six
fanning the lower hexagon. The Cakras become invisible when
absorbed by on Her upward journey. As She comes
down again to Miiladhara, She produces and thus makes manifest
(Rasli.rhnli.yamahasa) these Cakras from Herself. Ktilicaratza says
that Amnli.ya=Vidhiinam {doing) and Mahas=PrakiiS'a (manifesta
tion). Rasa are the lotuses: for as Kiilicaratza elsewhere says:
WAVE OF BLISS
15
or attachment to worldly things. Unless man has
the qualities (Vrtti) which are in the lotuses he is without attachment.
These Vrttis, that is, the Cakras to which they belong are made
manifest on Km:tQali's return. She bathes the Prapanca that is the
Six Centres of which it is composed with the nectar flowing from the
tips of Her feet when She is in union with Paramasi'a in the
Sahasrara. She thus returns to the Kulakm:tQa which is in the
Miiladhii.ra that is the triangle there in the middle of which is the
Svayarhbhu Linga round which Kui)Qali clings. The translation
adopted is according to the Commentary of Achyutiinatzda. Kuhara
meaning cavity he reads KuhariQi in the locative case as an adjective
qualifying Kulakui)Qe also in the locative. reads
Kuhari1.li in nominative as an adjective of Kui)Qali which is under-
stood. KuhariQ.i is then She who dwells in the cavity (MuHi.dhara).
The Kulakui)Qa is described as being the root of the Nagis, placed
by some in the Muladhara and by others in the But as
Pandit Sastri points out when the text refers to the
sleeping posture the Muladhii.ra is intended. Kui)Qali does net stay
long in the Sahasrara; the actual duration of such stay depending on
the strength of practice and previous experience. The Yogi makes
effort at each attempt to prolong this stay. On the upward journey
there is colour and sound. Sound is he:trd or vibration is felt in the
heart. The Sahasrara is soundless and colourless (N irvarQa).
VERSE 11
THY abode is made by four S'rikaotas and five S'ivayuvatis
which are the nine several Prakrtis of S'arhbhu (S'iva). The
angles are forty-three in number. It also has three circles
and three lines and (two) lotuses of eight and sixteen petals
(respectively).
COMMENTARY
This is outer worship (Bahiryaga). The S'rika:;ttas are the four
triangles with points upwards. These represent the S'iva element.
16 WAVE OF BLISS
The S'ivayuvatis are the five downward pointed triangles which
represent the S'akti element. By the Mulaprakrti of S'iva Who is in
the form of Bindu the nine are formed. The three lines and circles
are the three outer sections in the Yantra and the lotuses of eight and
sixteen petals are the inner ones in the same. This Yantra is the
celebrated S'riyantra or S'ricakra figured on the outer cover of this
book. The nine Prakrtis are the root Prakrti (Mula-Prakrti) and the
eight issuing Vikrtis which are also Prakrti in relation to what they
produce.
Pandit Anantakr$na Shastri, ed. Anandalahari 39 says: (See also
Bhaskararaya on Lalita, v. 116.)
"These nine angles by their action and interaction from the im-
mediate cause for the manifestation of the universe. The formation
of the S'ricakra is here described. In "Kamika," a Mantra S'astra,
the human Body is taken to be the S'ricakra, and the correspondences
given as below :
MICROCOSM
Five S'akti angles Four S'iva angles
1. Tvak Skin 6. Majja Marrow
2. Asrk
Blood 7. S'ukra Semen
3. Mamsa Flesh 8. P r a ~ 1 a Vital force
4. Meda Lymph 9.
Jiva Soul
5. Asthi Bone
MACROCOSM
S'akti's angles
Five Bhutas, five Tanmatras,
five J fianendriyas, five Karmendri
yas, and five PraQas.
S'iva's angles
Maya, S'uddhavidyii,
MaheS'vara and Sadiisiva.
In giving these correspondences some mention 51 Tattvas, some
others 94, while yet some others hold the other Tattvas are all in-
cluded under the 25 which they calculate. The commentaries contain
instructions as to how to engrave the S'rlcakra, and quote Vedic
WAVE OF BLISS 17
authority to support their statements. There are three ways of
designing S'ricakra-Meru, Kailasa and Bhuh. Each of these designs
varies from the other in the arrangement of the houses of Deities and
bas a distinct form of worship. The identification with the sixteen
Nitya deities forms Meru; with eight Matrka Deities, KaiHisa; and
with eight VaS'ini Deities, Bhuh. "Taitiriyaranyaka " states that
the named ' ' worshipped the S'ricakra and attained
success in the Yogic practice of leading the KuQ<:Jalini to Sahasriira.
As to the number of angles in a full-blown Sricakra there is some
difference of opinion. Some say that it must have 44, and others 43
angles. As appears from the above the Text here translated gives
forty-three. Maya, S'uddhavidya and the others are S'aiva Tattvas
issuing forth in the reverse order of that stated. S'uddhavidya is also
called Sadvidya and Sadasiva is called Siidakhya which means Sat
iikhya yatah or "that state in which there is the first notion of
being " ; for here the world-experience commences as the notion
"I am".
VERSE 12
Oh Daughter of the snowy mountain, Brahma and the others
and Rudra) Great Devas are scarcely able to imagine
Thy beauty. The Devis by meditation on Thy transcendent
beauty gain that Union with S'iva which is scarcely to be
had by (all) austerities.
COMMENTARY
Daughter is She of the Snowy King Himalaya. The Devas are
poets both on account of the S'ii.stra attributed to them and of their
concern in the making, maintenance, and destruction (the prelude of
rebirth) of the universe. The meaning of the second sentence is that
the Devis or celestial Spirits who see Her beauty get by merely
wishing for it that Union which and others can scarcely obtain
by means of hard austerities. According to another reading which
has " PaS'iinarh " for "Tapobhih " the meaning is " unattainable by
those who are Pawu and follow not the " Tantras ''.
2
18 WAVE OF BLISS
As in the 11th verse the S'rfcakra was described this refers to its
presiding Deity to whom the Anandalahari is addressed-the first
Cause which is reached by uniting S'akti and S'iva in the Sabasrara.
Their merger is Sayujya.
VERSE 13
If but a glance from Thine eye falls on a blind old man
incapable (through his years) of love, then hundreds of youth-
ful women with loosened hair will follow him, their upper
slipping from their breasts rounded like jars and their
girdles and lower cloth falling from about them.
COMMENTARY
According to Pandit Ananta some Commentators regard
this and verses 18 and 19 as Madanaprayoga for the attainment of
the third (Kama) : sed quaere; the description is rhetorical
only and v. 19 refers to the Kamakala. So great is She the
Desirable One (Kamaniya) that but a side glance from Her upon any
person or thing makes him or it the object of desire. This is a classic
Sanskrit description of the state of women under the influence of
passion.
VERSE 14
Oh Mother, there are fifty-six rays of the Earth, fifty-two
of Water, sixty-two of Fire, fifty-four of Air, seventy-two of
Ether and sixty-four of mind but Thy two lotus feet shine
above them all (in the letters Ham and Sah).
COMMENTARY
By the "rays" (Mayilkha) are meant days and nights. The
rays of the six Cakras collectively, make a lun':lr year of three hundred
WAVE OF BLISS 19
and sixty days of six seasons. The two feet of the Devi are Nada
and Bindu and are "beyond time" (KaHigocara). Spring (Vasanta)
is fifty-six days, summer is fifty-two days and so on. Each
Cakra represents a season. Above all there are the two feet of the
Devi which are Brahman and Parabrahman, Niida, Bindu, that is,
they are beyond time. Some say that the fifty-six Mayukhas are the
twenty-eight Tattvas of Earth duplicated: twenty-eight for S'iva and
twenty-eight for S'akti. The fifty-two Mayukhas of water are twenty-
six duplicated as above and so on. Above these shine the two feet of
the Devi which are Tattvatita that is beyond all (objective) Tattvas.
Achyutdnanda who gives the above as alternatives, his
own view which is that the Mayiikhas are letters of the alphabet
grouped in different ways:
(1) Fity-six Mayiikhas are the fifty letters and the Bijas Aing,
Hrlm, S'rim, Aing, Klim, Sauh. These are the Mayiikhas
of Earth.
(2) Fity-two Mayukhas are the fifty letters and the Bijas Saurh
S'rim. These are the rays of Water.
(3) Sixty-two Mayukhas are the fifty letters and the fourteenth
vowel repeated four times and the letters Ham, Sah
repeated four times. Tnesc are the rays of Fire.
(4) Fity-four Mayukhas are the fifty letters and Yam, Ram,
Lam, Vath. These are the rays of Air.
{5) Seventy-two Mayiikhas are the first fourteen vowels repeated
five times and Aim, Hrim. These are the rays of Ether.
(6) Sixty-four Mayfikhas are the sixteen vowels four times
repeated. These are the rays of Manas.
Some say that Nyasa should be done with these three hundred
and sixty letters together with Hath and Sah in the six Cakras. See
Introduction to "Serpent Power".
VERSE 15
How can the words of sages become sweet with the sweet
ness of honey, milk, and the juice of grape if they have not
bowed. to and meditated upon Thee Who art white as autumn
20 WAVE OF BLISS
moonlight ; on \Vhose head of coiled and matted hair is the
moon; Who in (two) hands (dost hold) a book, and crystal
rosary and (with the two others) dost make the gestures of
(granting) boons and dispelling fear.
COMMENTARY
According to the meditation (Dhyana) of Kriyi
S'akti (energy of action) as the source of Speech (Vagbhavarilpa) is
here indicated. See notes to v. 32. This and the two succeeding
verses have been described as the Sirasvata prayoga which makes one
a great poet (maker).
VERSE 16
Such wise men as worship Thee, red and beauteous as the
morning sun (shining) in the lotus-like garden of the heart of
great poets delight alJ men by words full of the waves of
tender amorous passions issuing from Sarasvati.
COMMENTARY
That is, just as the sun makes bloom the lotus so does She
make bloom the heart of great poets.
Virificipreyasi is the beloved or wife of Virifici or Brahma that
is Sarasvati or speech of which She is the Goddess. Amorous passion
is S'rrigara Rasa. This is the form of Devi as Iccha S'akti. She is
the presiding Divinity of Kamakuta as Kriya S'akti is of Vagbhava.
See last note.
VERSE 17
Oh Mother, he who contemplates Thee in company with (Thy
attendant Devis) Vas'ini and others, the givers of good
speech, beautiful as the moon-gem, becomes (himself) a great
WAVE OF BLISS 21
poet whose words charming in their expression are sweet with
the fragrance of the lotus mouth of Sarasvati.
COMMENTARY
This verse g1ves the fruit of meditation on Jiilinasakti, the
presiding Divinity of S'aktikuta. The eight S'aktis are Vasini,
KameS'vari, Modini, Vi mala, AruQii, J ayini, Sarvesvari and Kaulini.
These eight who are white like the Moon-gem are the Devi;; of the
eight groups {Vargas) of letters. The first of which are the vowels
grouped as one and the rest are Ka, Ca, Ta, Ta, Pa, Ya and S'a
groups. (See Tantraraja, Nitya!jiodasiklirQava).
They are in the Cakra called Sarvarogahara.
VERSE 18
He who calls to mind the heaven and earth as bathed in the
beauty of Thy Body like unto that of the rising sun sub-
jugates many Ia celestial damsel with beauteous trembling
eyes like those of the forest deer.
COMMENTAltY
This verse gives the fruit of meditation on Jiillna S'akti the
presiding Divinity of S'aktikilta. The eyes of damsels being celestial
are naturally steady or winkless. But even their eyes tremble. This,
as last verse, is a poetical description symbolic of the great powers
attained by worship of Ji'iana-S'akti. Literally put the latter part of
the Verse would read thus: "Are not all the many celestial courtesans
the first among whom is U rvaS'i and whose eyes are restless and
beautiful like those of timid forest dear obedient to him!" By this
comparison the greatness of the Sadhaka's power is shown, for the eyes
of the celestials are winkless. This also shows the excess of their
passion.
2Z WAVE OF BLISS
VERSE 19
Oh Queen of Hara (S'iva), whoever contemplates Thy
Manmathakala thinking of one Bindu as the face, and below
it {on other two Bindus) as Thy breasts and be-low these on
Hakarardha, can forthwith !Oubjugate women. But this is for
him a very trifling thing (since) he can at his pleasure move
Triloki (three worlds) whose breasts are the sun and the moon.
COMMENTARY
By " Queen of Hara" it is denoted that she is Saccidananda.
Hara is He who absorbs (harati) the universe into Himself. S'rikrama
says: There are three Bindus-The first or Fire is indicator of Rajas
GuQa and Brahma. This is the face (Mukha). The second and the
third are the two breasts which are Hari ( V i ~ Q u ) and Hara (Rudra)
and indicate Sattva and Tamas GuQas. Below that is " half of Ha"
the subtle Citkala which is the Yoni. The latter which is formed by
the triangle connecting the three Bindus indicates the three Gm;.tas
which are characteristics of Hari, Hara and Brahma. The universe
is the product of Cit-S'akti and Maya-S'akti. This Yoni has three
angles. The form of the Kamakala is thus described.
Manmathakala is Kamakala. This according to A chyutanantla
is the display of power in the forrn of the three GuQas (TriguQatmaka-
vibhuti); that is the universe which is the product of the union of
S'iva and S'akti.
Triloki, the three worlds are compared to a woman whose breasts
are the Sun and Moon. To one who can conquer such a "woman"
the conquest of an ordinary woman is but a trifling thing. The sense
is he becomes Lord of the three worlds and all the S'aktis therein are
in harmony with his wishes. This verse speaks of Pancamayaga,
esoterically, the Union of Kun,<;lalini with Parama-S'iva and. of
Maithuna on the material plane. This is an oft quoted verse.
VERSE 20
HE who in his heart contemplates Thee Who hast the form
of the Himalaya Mountain, and dost diffuse from all parts of
WAVE OP BLISS 23
Thy body numbers of nectar-like rays; such an one over-
comes the pride of serpents as does the Bird King Garuda.
He by his mere look which sheds cooling ambrosia assuages
those who burn with fever.
COMMENTARY
The Commentator DiQQima says that here the AmrteS'vari Marti
is indicated. Yogis enjoy the ambrosia issuing from the Amrta-Nadi.
VERSE 21
GREAT men who with mind free of Maya see without effort
Thy Kala wherein is Sun, Moon, and Fire, which (Kala) is
subtle as a lightning-flash placed above the Six Lotuses in
the forest of the Great Lotus, are immersed in the wave of
Supreme Bliss.
CoMMENTARY
Verse 19 speaks of Kamakalii. in the form of Tripurasundart the
Mother of the three Bindus, (Brahma, Vi9QU and Rudra), Kama=
Kamaniya Kala=Sun, Moon and Fire. She is the
of all Who is worshipped by Viracaris. The previous
meditation is the outer (Bahya) Dhyana. Lakmidhara and Achyu
tifnanda say that this verse formulates the pure Svat upa contempla
tion attainable only by the great. That is the inner (Abhyantara)
subtle meditation This is the subtle
form ; the previous forms being for lower capacities. The Kala in
this verse is Devi as Consciousness (Citsvarupa) which by its S'akti
appears as the three Bindus or Kalas of Sun, Moon and Fire. As to
the meaning of Kala, see my "Serpent Power". The Sahasriira is
spoken of as 'the forest of the Great Lotus' (Mahapadmatavi) on
account of the great number of its petals. 1'be YQmala also uses the
same expression.
WAVE OF BLISS
VERSE 22
"Oh Bhavani, do thou-give a compassionate look upon me,
Thy servant." To him who thus praying says" Oh Bhavani
Thou " then and there Thou dost give the state of union with
Thee, that state adorned by the brilliant crowns of Brahma,
and Rudra.
COMMENTARY
As that "Bhavani" as a Verb means" May I
be" and Bhavani tvam=" let me be (one with) Thee"; taking it as
the optative first person singular of the verb Bhii. He who thus
worships the Devi becomes one with Her. The very utterance of the
words "Bhavani tvam " attracts Her attention. The expression
"Bhavani tvam" has two meanings. Bhavani is the vocative form
of Bhavani and is also the lot (optative) first person singular of the
root Bhii (=to be). The author says that when the Sadhaka is
supplicating the Devi for Her Grace addressing Her as Bhavani (the
consort of Bhava or S'iva) She out of Her Great Mercy mistakes as it
were the meaning of the Sadhaka and understands him, when the
first two words are uttered, to say " May I be Thou " and grants his
prayer. Ditp;lima says that hitherto Antaryiiga and Bahiryaga have
been taught and here Bhakti or devotion leading to Salokya, Samipya,
Sariipya and Sayujya; that is reaching the same abode as, nearing,
attaining the quality of and union with the Devata. Here the union
given is Sayujya. By saying 'adorned by the crowns, etc.,' the author
means that this high reward is unattainable by even the Great Devas
named who have parted with their most va]ued crowns to obtain it
and yet not been successful. To place one's head dress at the feet of
another is a token of great abasement.
VERSE 23
THou Who hast stolen the left half of the body of S;ambhu
art yet methinks dissatisfied therewith. It would seem that
WAVE OF BLISS 25
the other half has been stolen also, so that Thou art now red
anrl three-eyed weighted with two breasts, and with the whole
of the crescent moon Thou art crowned.
COMMENTARY
The combined androgyne form called Ardhanarisvara is composed
of half S'iva and half S'akti. S'akti was thm golden red and S'iva
pale-white. She shared the three eyes. She had one breast and
shared the common crown on which was part of the half moon. She
has now encroached on the other half and is therefore red and so
forth : the two breasts showing that She is more than half the body.
The verse is in eulogy of the greatness of S'akti and speaks of the
change from Ardhanarisvara into Tripurasundari.
The verse indicates the Union of S'iva and S'akti as also it is said
by Pandit Anantakrishnasastry the doctrine of the Uttara Kaulas that
there is no S'iva-Tat tva without or distinct from S'akti Tattva.
VERSE 24
AT Thy command shown by a slight motion of Thine eyelids
Brahma creates, Hari preserves and Rudra destroys the
world. lsha considering these actions to be of no moment
remains unmoved and Sadas'iva withdraws all things into
Himself.
CoMMENTARY
See Introduction to "Serpent Power". The Devi is the object
of adoration of the five S'ivas.
VERSE 25
Oh Sivt, the worship of Thy two feet is the worship of the
three Devas (Brahma, V i ~ Q U and Rudra) born of the three
26 WAVE OF BLISS
Gu:Q.as (Rajas, Sattva and Tamas). These Devas with high
crowns and folded hands ever remain in obeisance at the
jewelled-foot-stool which supports Thy feet.
COMMENTARY
S'iva is the Mother of all and all things are in Her. Therefore,
when She is worshipped all that is included in and subordinate to
Her is worshipped. All Devas owe their greatness to the worship of
Devi. Worship of Her is worship of all Devas emanating from Ht:r
Supreme power.
VERSE 26
Oh Chaste One, Thy Spouse alone exists at the time of the
great Dissolution. All else dies, Brahma, Hari, Yama, Kubera;
and even the wakeful opened eyes of Great Indra close.
COMMENTARY
At the great Dissolution all being re-enters S'iva with whom She
is one, All then is gone but S'ivaS'akti. Yama and Kubera are the
Devatas of Death and Wealth respectively. lndra the King of the
celestials has a thousand eyes. He is the Lord of Svarga (heaven)
the enjoyment of which is transitory. The Devi as Supreme S'akti
eternally exists with S'iva.
VERSE 27
Oh Mother, even Brahma and Indra who performed a hundred
sacrificial rites and other Devas, though they live in heaven,
and have drunk the nectar which destroys the fear of the
enemies, old age and death, must yet perish. But S'iva who
drank even deadly poison did not die through the greatness of
Thy ear ornaments.
WAVE OF BLISS
COMMENTARY
The heavenly world in which there is no fear, age and death as
earthly mortals know it, is yet a transitory thing coming to an end
with the exhaustion of the merits of its denizens and the dissolution
of the universe. But the Devi's greatness is such that S'iva did not
die when He drank the poison which issued at the churning of the
ocean. Ear ornaments are signs of married life. The allusion is to
the belief that the husband's life depends on the length of time that
the wife is destined to remain a $adhava (woman with a husband).
VERSE 28
Oh Mother, may all my speech, howsoever idle, be recitation
of Mantra (Japa); may all the actions with my hand be the
making of ritual gesture (Mudra) ; may all my walking be the
pacing around (Thy image in worship) ; may all my eating
and other functions be Homa rites; may the act of my lying
down be prostration before Thee; may all my pleasures be an
offering to the great self (Atma). Whatsoever I do may it be
counted for the worship of Thee.
COMMENTARY
This verse which according to Achyutiinanda is the essence of
the practice of jfiana Yoga dedicates all action to God; Atma here
standing for Paradevata. With this intention every natural act and
function without exceiltion is an act of worship. The action of the
tongue is Japa, of the hand Mudra, of the feet or circu
mambulation of the image which is a part of its worship. Eating, etc.,
is a Homa sacrifice. Lying down is salutation (PraQima) for when
one lies down all the different parts of one's body touch the ground
and one form of prostration is with the eight parts of the body
(A$tanga). According to Achyut4nanda "all my pleasures " means
" qnly the union with S'akti " which
28 WAVE OF BLISS
appears to me to be a poor unnecessary limitation of a fine sentiment.
" Counted fer" lit, "a step in the . process of worship" (Saparyi
paryaya). Cf. Prapancasara Tatttra, Ch. XI. v. 67.
VERSE 29
Oh Mother, may I with my six organs as my feet be as it
were the six-footed (bee) and may I seek Thy Feet which ever
give to the poor prosperity which Thou alone can; Thy Feet
beautiful like bunches of Mandara flowers shedding the honey
of loveliness.
COMMENTARY
The poet compares himself to a Bee which hovers upon and
sucks happiness from the luscious flowers which are the Mother's
feet. The Bee has six feet, :Man's six organs are the five Jnanendriyas
and Manas.
VERSE 30
On Bhava (S'iva) coming to Thee unannounced, and on
Brahma, V i ~ Q . U and lndra then prostrating themselves, Thy
attendants warning Thee say-and their saying triumphs-
" Avoid the crowns of Virii'ici (Brahma) and Jambhari {Indra);
Take care lest Thou stumble on the hard head ornament of
the slayer of Kaitabha (Vi!?Q.U)."
COMMENTARY
The Devi is about to welcome S'iva, and Her attendants, warn
Her to be careful as She goes, because She might stumble on the
hard crowns of the prostrated Devas. The head ornament or crown
of Vio?QU is the Kotira.
VERSE 31
PAS'UPATI having known all things in the Universe by means
of the Sixty-four Tantras, was proficient in the Siddhis with
WAVE OF BLISS
29
which each of these Tantras deal. But again on being pressed
by Thee he took down to earth this Tantra of Thine, which is
Svatantra and in which are brought together all the four aims
of human existence
COMMENTARY
The Gloss of Achyutiinanda adds that according to tradition
S'iva speaks the Tantra to Devi in Kailasa and Ganes'a records it and
when complete communicates it to some Mahar!?i or Siddha on earth.
This is being done to the present day, The so-called "historic"
attack on some Tantras as being without authority because they are
alleged to be modern is according to orthodox views of no validity.
The Tantra is eternal (Nitya); the Commentator citing a saying:
PuraQagamasiddantarh nityam ahur manishinah. (The teachings of
the purii.na and Agama are by the wise said to be ever-existent.) The
Tantras however appear and disappear according as they are revealed
or withdrawn. Their authority does not depend on the fact that
they were published to men on a particular date but on the Siddhi to
which they lead; that is, the actual result flowing from them. This
result proves the authority of the Tantra even though it were revealed
yesterday. S'iva or PaS'upati, Lord of the pashu or animal world and
the senses, became all-knowing by His knowledge of the 64 Tantras
which are Nitya and which were promulgated for each of the three
Kranta:>.
1
He at first engrossed in the teachings (jfHina) of
the 64 by reason of their greatness. Thereafter (Punah) on ' Thy
(the Devi's) insistence' (Tvan-nirbandhat) ' He brought down ;
(Avatitarat) to this world (K!?ititalam) 'Thy Tantra' (Te tantram)
in which are brought together the four human aims'
or all the Siddhis, which is called 'Svatantra,' which here may mean
indfpendent-that is, independent of all Tantras or that whereby
the aims of human existence are attained.
svatantram). According to Bhaskararaya in the Introduction to his
Commentary on the Nitya$odaS'ikarvava the Tantra here spoken of
a See my Introduction to " Principles of Tantra" where these Tantras are
euumerated.
30
WAVE OF BLISS
is the V iimakeS'tmra ; others say it is the J iianiirl)ava and others again
take it to be the Tantraraja. The Commentator who
is opposed to the Uttara Kaula school says that these 64 Tantras or
Agamas as also portion of the Misra
1
Vamacara are intended for
people who seek the attainment of selfish Kima and
are followed only by _S'udra.s, Anulomas and Pratilomas
(people of crossed and mixed parentage). The twice born who follow
them should be excommunicated for they as also S'udras of good
habits should follow the eight Agamas which are S'hastras of Libe-
ration (Mok!?adharma). The Sanatkumiira-Samhita one of the five
Agamas (which I have not seen) is cited by Pamlit S'iistri
as saying that outer worship (Bahyapiija) is performed by Kaulas,
K!?apaQakas, Kapalikas and Digarhbaras and followers of the ltihasas
and such Agamas as Bhaira'f.a- Yamala. says that
"one will incur sin even if one thinks of such men ". The inner
worship (Antarapiija) practitioners are Brahmaviidins followers of
the five Agamas of the good tradition (S'ubhagama-paficaka) and
Jivanmuktas. In this view the S'astras alleged to be concerned
with Ka!fla a!ld :f\rtha were supplemented by the Moksha S'astras of
the ?am;1ya school to which this Commentator belonged, and in
which according to him the S'akti Kut:tdali is raised to the S'ahas-
rara for the attainment through this continued practice of
I am not however aware of the authority for the
that the Kaula is not a or that Kaula worship
is in the MiiHidhara only. See introduction to my "Serpent
Power".
VERSE 32
Oh Mother, the following letters with "Hrim" at the end
of each Kuta of the Mantra, are Thy name and form.
These are S'iva, S'akti, Kama and ; then Ravi,
S'Itakirar:ta, Smara, Hamsa and S'akra ; then Para, Mara and
Hari.
a See Introduction to " Serpent Power ".
WAVE OF BLISS
31
COMMENTARY
The author here gives the Hadi Vidya. See Tripuriimahopani$at
(Tantrik Texts, XI) 9. The above said letters in each Kuta
(group) are the parts of Her name. S'iva=Ha; S'akti=Sa; Kama=
Ka; etc.:
The Mantras are-
Ha Sa Ka La Hrirh called the Vagbhavakuta.
Ha Sa Ka Ha La Hrirh called the Kamarajakuta.
Sa KaLa Hrirh called the S'aktikuta also called Trailokyamohini.
The whole is called the Trikuta or Lopamudrli Vidya. This
Lopamudra is the Bija (seed) of all Mantras. Here the of
$odaS'i which is the basis of the Samaya form of worship is indicated.
It is called the Pai'icadaS'lik!?:tra Mantra because the 16th letter which
is not mentioned is to be learnt from the Guru. The Mantra contains
4 Padas or parts. The first Pada is Agni, Surya and Candra; the
second the Kriya, Iccha, ji'iana S'aktis or Vigm, Brahma, Rudra; the
third the Jagrat, Svapna and Su!?UIJti states (Ava!;thii) corre!'ponding
to Visva, Taijasa, and Praji'ia; Sattva, Rajas, Tamas; and fourthly
Parasakti or Caitanya. Oniy in outer worship is the I;l$i, Devatii,
etc., of the Mantra known. In the inner worship nothing is known
but that which is the object of contemplation.
\VERSE 33
Oh Thou Who art Eternal, those who greatly desire tbe path
of Enjoyment and Liberation place "Smara ", "Yoni ",
"Lak'(imi," at the beginning of Thy Mantra, and then with
Homa to the mouth of Kula-kui)dalini with hundreds of offer-
ings of poured out fragrant ghee make Japa of Thy Mantra,
and attain Liberation in the S'abda Brahman Who is Cit,
associated with the Gul].as-Sattva, Rajas and Tamas.
COMMENTARY
"Smara" "Yoni"
11
stand respectively for Ka, E, I.
These three letters are to be changed for the first three letters in the
32 WAVE OF BLISS
Mantra or Vidya in the preceding verse. In this way the Kadi-Vidya
is formed. See Tripuriimahopanif!at Rik 8 and Bahvrichopani$at
(A. A. Tantrik Texts, XI) and LalitiitriS'ati and S'amkaracarya's
commentary thereon. According to some by " Smara " "Yoni"
"Kamala" the Bijas Klimg, Hrimg, S'rimg are meant. S'ivagni is the
mouth of KuQc;lalini. The "fragrant ghee" is here said to be the
current of nectar flowing in Goloka. " Goloka " says the Ga11famiya
Tantra "is the abode of the Supreme Vi!?QU ". Liberation (Laya) is
absorption in Ak!?ara or S'abda Brahman; CintiimaQi is Citkala
for therein is nectar flowing in Goloka. " Goloka" says the Gauta
miya Tantra " is the power of all that is desired. The GuQas of
Cit-kala are Sattva, Rajas, Tamas.
VERSE 34
THou art the body of S'ambhu with two breasts which are the
Sun and Moon. Oh Bhagavati, Thou art the all-pervading
stainless One ; therefore the connection between each of Thee
as part and whoJe is the nature common to both, to wit, the
same Lordship and Supreme Bliss.
COMMENTARY
The Devi is the body of S'ambhu or Brahman Her Spouse with
Whom She is one. Her breasts are Sun ilnd Moon and Her Face
(see v. 19 ante) is Fire, all three being aspects of S'akti manifesting
as Iccha, J iiana, Kriya, the three Gur;tas and so forth. She is
Bhagavati as possessor of all Lordship (AiS'varya). "All-pervading"
Bhavatma (lit. "self of the universe") that is in the form of the
world, BrahmarG.pa: therefore all-pervading. They are part and
whole': for considered singly He is P u r u ~ a and She is undivided
Prakrti. But as being one Prakrti-Puru$a they are the whole. Their
common unity lies first in a common Lordship (Aisvarya) for Sarna
rasa, according to the Commentator, means this : and in a common
Supremacy of Bliss (Parananda) ; Lordship representing Their
creative, maintaining and destructive aspect as Ishvara, and Supreme
WAVE OF BLISS
33
Bliss Their aspect as Para Brahmam. In this verse is shown the
Oneness of S'iva and S'akti as Adhara (container) and Adheya
(contained). To adhere to the text the translation should begin "To
my mind".
VERSE 35
Oh, youthful spouse of S'iva, Thou art Mind, Ether, Air,
Fire, Water, Earth and dost thereby transform Thyself into
the universe. Nevertheless there is nothing beyond Thee. Bv
Thy play Thou dost manifest Thy Consciousness and Bliss in
the body of the universe.
COMMENTARY
The Commentator says-mind is ParamaS'iva's abode, which is
Maharloka. By Parama S'iva is here meant S'iva as the creative
aspect of the Brahman. Parama S'iva the transcendental S'iva abides
in Satyaloka. By "mind" reference is made to the Ajna Cakra.
Ether (Vyoma) is Tapoloka, the place of Sadasiva. It is to be noted
that Consciousness of the S'aiva Sadakhya Tattva is all diffusive.
Nada which corresponds with it is spiritual "sound" or motion and
sound in the gross sense is the GuQa of Akasha. Air (Vayu) is
Janaloka, Isba's a.bode. Fire (Agni) is Svarloka, abode.
Water (Apah)=Bhuvarloka, Rudra's place and Earth (Bhumi)=Bhiir
loka (earth) or Brahmas abode. The Shatchakra have subtle and
gross aspects. In other words She manifests as (1) the six Devas,
Shambhu, Sadiishiva, etc.; (2) whose abodes are Maharloka, etc.
(3) which in the grosser Tattvas are represented by Ether, Air, etc.
(4) which again have their six centres in the human body, and (5)
from the combination of the Principles, Ether, etc., which are in the
Cakras the whole universe is made. KuQcjali manifests as the six.
But notwithstanding all Her subtle and gross transformations (Tvayi
pariQatayam) She remains ever the same Cit (Feeling consciousness)
and Ananda (Bliss) for the Atma in its nature (Svarupa) as distin-
guished from its Powers (S'akti) and their products is the same in all
3
34
WAVE OF BLISS
times and places. In the Kaivalya Kalika as also in the Shat-chakra
the place of Water is Svadhishthana and of Fire is Mani
pura. See my "Serpent Power". See v. 9 ante.
VERSE 36
Oh Mother-Father, I salute Him (Brahma) who is the form
of Siva with Thy Samaya (Savitri) who (Savitri) is skilled in
dancing in the Muladhara Cakra. Her Spouse is H imse1f
skilled in the great dances in which He displays the nine
sentiments. By these two, Oh Mother, thi!S world with all its
wealth was Thy mercy created in order to accomplish by
mutual help Their joint design.
COMMENTARY
In the six verses beginning with this-the six different aspects
of the Devi are described. Here Brahma the creator and his consort
Savitri are spoken of. The Commentator who is
adverse to the Kaula School says that this verse refers to the form of
worship in the Muladhara adopted by them and condemns such wor-
ship. It is said,
1
according to Samayacara, that the Muladhara and
Svadhishthana are Tamasic centres and worship in them is not
permitted. This ven:e however speaks of the commencement at the
lowest centre and is followed by others relating to higher centres.
It does not follow that because this verse refers to the Muladha.ra
that it connotes practice in that centre only. In fact this and the
following verses describe forms of worship in all the six Cakras.
Acyutiinanda says that this verse speaks of the origin of the Universe
from these two. Samaya, he says, means Kala-a part of the Devi.
VERSE 37
Oh Mother, I salute Him (Rudra) who abides ever in the
(Cakra) who as Sambarta is Fire. I also sing
1
I quote Pap.Qit Ananta Knl)a S'llstri's notes on this verse. But see as to thia,
the Introduction to " The Serpent Power ".
WAVE OF BLISS 35
the praise of the Great Samaya (i.e., Rudras'akti). When
Rudra burns the world with the gaze of His great eyes in-
censed with wrath it is Thou, Oh Mother, Who dost assuage
by Thine eyes moistened with kindness.
COMMENTARY
Having described Brahma and Savitri in the previous verse the
author describes Rudra and Rudral)i. Here Rudra and his are
placed in Svadhi!;ithana whereas in the Vi!;il)U and
Water are placed there. Some read Jananim for Mahatim.
VERSE 38
I worship the ineffable Who is dark like the dark-blue
raincloud and His S'akti who by Her darkness-destroying
radiance adorns Him, as lightning does the cloud. MaQipura
is where He dwells. He showers His mercy on the three
worlds heated by the Sun of Hara.
COMMENTARY
According to some the reading is Smaramihira and not Hara-
mihira (Sun of Hara) and the meaning is consumed by the S<.tn or
power of desire. This verse then says that meditating on the Vi!;il)U
form of S'iva in the MaQipiira he who is tortured by the fire of desire
gains peace. See last note. "Sun of Hara": at the dissolution of
the worlds twelves Suns (Aditya) appear to consume it. The S''akti
is N arayaQi. The sense of this verse is that the people of this world
who are being consumed by the fire of their desire attain peace by
meditating on S'iva or Brahman in His aspect as in the
MaQipura Cakra.
VERSE 39
In Thy Amihata Lotus I salute the wondrous pair who are
Harh and Sah swimming in the mind of the great, who ever
36 WAVE OF BLISS
delight in the honey of the blooming lotus of knowledge. A
Sadhaka by meditation thereon becomes the knower of the
eighteen sciences and discriminates that which is of worth from
that which is faulty (like the swan which sips) the milk alone
from (with which it is mingled).
COMMENTARY
Here the Author speaks of ls'vara and his consort. Harh is
"Male" or S'iva; Sah is "Female" and S'akti. S'iva-S'akti are
therefore Harhsa which combined means a swan. They swim in or
manifest in the mind, of the great. The Sanskrit word is Hamsa
dvandva 'the Harhsah two or pair' or 'Harhsah in which there are
or which is made up of two'. Cf. Pum-prakrityatmako harhsa
tadatmakam idam jagat; that is Harhsa is both Male {Purh) and
Female (Prakriti) and this world is made of and pervaded by them.
S'iva is here the combined Puruf?aPrakrti. See v. 1, ante. The
Lotus feet of knowledge {Jiiana) or consciousness in which they delight
is spiritual consciousness. It is blooming. The S'aivas speak of the
supreme state as Sphuratta or (perfect) blooming and this is shared
by the great in whose minds they manifest. The Harhsa (swan or
goose) is said in Sanskrit literature to have the capacity of drinking
up the milk from the water with which it is mingled. So also the
wise discriminate what is of worth from the worthless: the right
from wrong: the enduring from what is transitory.
The 18 Vidyas, or Sciences as enumerated in PuriiQa, are:
(1) S'ikf?a, (2) Kalpa, {3) VyakaraQa, (4) Nirukta, (5)
(6) Chandas, (6) (8) Yajurveda, (9) Samaveda, (10) Atharva-
veda, {11) Mimarhsa, (12) Nyaya, (13) DharmaS'iistra, (14) Purii!)a,
(15) .A.yurveda, (16) Dhanurveda, (17) Gandharvaveda, and (18)
ArthaS'astra.
VERSE 40
I salute S'iva, white and transparent as a crystal, of ethereal
form abiding in Thy Vis'uddha lotus and the Devi Who is
WAVE OF BLISS
37
one with Him. The world freed of its inner darkness by their
radiance which is like unto that of the rays of the moon
rejoices as does the Cakori bird (in the rays of the moon).
COMMENTARY
S'iva here is in His androgyne aspect, as SadaS'iva. The
mythical Cakora bird satisfies its hunger by eating the rays of the
Moon. As such bird flying towards the moon gets pleasure, in
drinking the moonlight, in like manner by the contemplation of Deva
and Devi, a Sadhaka gets Brahma Bliss. This is the ArddhanariS'vara
form (Murti). The darkness of him who contemplates Sadasiva is
dispelled. "Devi who is one with" (S'ivasamanavyasanini). The
term means who enjoys the same as S'iva does. "Samanavyasanini"
refers to the creation by them of the universe. They are then as to
this in Samarasya. Yet beyond is the changeless Paramasiva.
Some read Vyomajanakam for Vyomasadrsam and say that they
are Lords of Vyoma (Ether) as the Cause thereof.
VERSE 41
I salute Paras'ambhu, abiding in Thy Ajflacakra, lustrous
as millions of Moons and Suns with whom is united Supreme
Cit-S'akti. Men worship with devotion, Him who dwells in
the region of Light which needs no light and which is beyond
the lights of Sun, and Moon and Fire.
COMMENTARY
Here Parama S'iva and His consort Cit-S'akti are spoken of.
ParaS'ambhu is Parama S'iva -; for worship and Siddhi in the Ajiia
lead to this. Worship is in Ajfia but the Deity is conceived as being ./
beyond in the Sahasrllra, and His reflection in Aii'ia. Sun, Moon
and Fire shed their rays only on the six Cbakras. They do not reach
the Sahasrara, the u shining abode " (Bhaloka) of Cidinanda. The
38 WAVE OF BLISS
Gitii-tattva says "There does not shine the Sun nor Moon nor Fire.
By knowing It, man docs not return. That is My supreme abode
which is beyond all."
Na tatra bhasayate suryo na s'aS'arhko na pavakah,
Yaj jiiatva na nivarttante tad dhama paramarh mama.
This place is "lightless" in the sense that it requires no other light
whether Sun, Moon or Fire. It is Light (Prakasa) Itself for It is
pure Chit. It is the abode of Cidananda (Consciousness-Bliss). By
meditation thereon that Brahma-knowledge arises which is liberation
from all the Hierarchies of suffering forms. Some read the last six
verses beginning with this verse which deals with the Ajiia-Cakra.
The remaining verses constitute that part of the poem which is called
Saundaryalahari "Wave of Beauty" since it describes the bodily
perfections of the Devi's form (Sthulariipa). At this verse therefore
the Anandalahari closes.
HERE ENDS TH.li: WAVE OF BLISS



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APPENDIX 1
Index of half Verses
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Index of Authors
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APPENDIX 3
Index of works
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11tdex of Citations
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