Chapter Twenty-four

Shakti as Mantra (Mantramayi Shakti)

This is in every way both a most important, as well as a
most difficult, subject in the Tantra Shastra; so difficult
that it is not understood, and on this account has been
ridiculed. Mantra, in the words of a distinguished
Indian, has been called "meaningless jabber". When we
find Indians thus talking of their Shastra, it is not
surprising that Europeans should take it to be of no
account. They naturally, though erroneously, suppose
that the Indian always understands his own beliefs, and
if he says they are absurd it is taken that they are so.
Even, however, amongst Indians, who have lost
themselves through an English Education, the Science
of Mantra is largely unknown. There are not many
students of the Mimamsa now-a-days. The Englisheducated have in this, as in other matters, generally
taken the cue from their Western Gurus, and passed
upon Mantravidya a borrowed condemnation. There are
those among them (particularly in this part of India),
those who have in the past thought little of their old
culture, and have been only too willing to sell their old
lamps for new ones. Because they are new they will not
always be found to give better light. Let us hope this
will change, as indeed it will. Before the Indian
condemns his cultural inheritance let him at least first
study and understand it. It is true that Mantra is
meaningless -- to those who do not know its
meaning; but to those who do, it is not "Jabber"; though

of course like everything else it may become, and

indeed has become, the subject of ignorance and
superstitious use. A telegram written in code in a
merchant's office will seem the merest gibberish to
those who do not know that code. Those who do may
spell thereout a transaction bringing lakhs of "real"
Rupees for those who have sent it. Mantravidya,
whether it be true or not, is a profoundly conceived
science, and, as interpreted by the Shakta Agama, is a
practical application of Vedantic doctrine.
The textual source of Mantras is to be found in the
Vedas (see in particular the Mantra portion of the
Atharvaveda so associated with the Tantra Shastra), the
Puranas and Tantras. The latter Scripture is essentially
the Mantra-Shastra. In fact it is so called generally by
Sadhakas and not Tantra Shastra. And so it is said of all
the Shastras, symbolized as a body, that Tantra Shastra
which consists of Mantra is the Paramatma, the Vedas
are the Jivatma, Darshanas or systems of philosophy are
the senses, Puranas are the body and the Smritis are the
limbs. Tantra Shastra is thus the Shakti of
Consciousness consisting of Mantra. For, as
the Vishvasara Tantra (Ch. 2) says, the Parabrahman in
Its form as the Sound Brahman (Shabda-Brahman or
Saguna-Brahman), whose substance is all Mantra,
exists in the body of the Jivatma.. Kundalini Shakti is a
form of the Shabda-Brahman in individual
bodies (Sharada-Tilaka, Ch. 1). It is from this ShabdaBrahman that the whole universe proceeds in the form

of sound (Shabda) and the objects (Artha) which sounds

or words denote. And this is the meaning of the
statement that the Devi and the Universe are composed
of letters, that is, the signs for the sounds which denote
all that is.
At any point in the flow of phenomena, we can enter
the stream, and realize therein the changeless Real. The
latter is everywhere and is in all things, and hidden in,
and manifested by, sound as by all else. Any form (and
all which is not the Formless is that) can be pierced by
the mind, and union may be had therein with the Devata
who is at its core. It matters not what that form may be.
And why? What I have said concerning Shakti gives the
answer. All is Shakti. All is Consciousness. We desire to
think and speak. This is Iccha Shakti. We make an
effort towards realization. This is Kriya Shakti. We
think and know. This is Jana Shakti. Through
Pranavayu, another form of Shakti, we speak; and the
word we utter is Shakti Mantramayi. For what is a letter
(Varna) which is made into syllable (Pada) and
sentences (Vakya) '? It may be heard in speech, thus
affecting the sense of hearing. It may be seen as a form
in writing. It may be tactually sensed by the blind
through the perforated dots of Braille type. The same
thing thus affecting the various senses. But what is the
thing which does so? The senses are Shakti, and so is
the objective form which evokes the sensation. Both are
in themselves Shakti as Cit Shakti and Maya Shakti,
and the Svarupa of these is Cit or Feeling-

Consciousness. When, therefore, a Mantra is realized,

when there is what is called in the Shastra MantraCaitanya, what happens is the union of the
consciousness of the Sadhaka with that Consciousness
which manifests in the form of the Mantra. It is this
union which makes the Mantra "work".
The subject is of such importance in the Tantras that
their other name is Mantra Shastra. But what is a
Mantra? Commonly Orientalists and others describe
Mantra as "Prayer," "Formulae of worship," "Mystic
syllables" and so forth. These are but the superficialities
of those who do not know their subject. Wherever we
find the word "Mystic," we may be on our guard; for it
is a word which covers much ignorance. Thus Mantra is
said to be a "mystic" word, Yantra a "mystic" diagram,
and Mudra a "mystic" gesture. But have these
definitions taught us anything? No, nothing. Those who
framed these definitions knew nothing of their subject.
And yet, whilst I am aware of no work in any European
language which shows a knowledge of what Mantra is
or of its science (Mantra-vidya), there is nevertheless
perhaps no subject which has been so ridiculed: a not
unusual attitude of ignorance. There is a widely
diffused lower mind which says, "what I do not
understand is absurd". But this science, whether wellfounded or not, is not that. Those who so think might
expect Mantras which are prayers and the meaning of
which they understand; for with prayer the whole world
is familiar. But such appreciation itself displays a lack

of understanding. For there is nothing necessarily holy

or prayerful alone in Mantras as some think. Some
combinations of letters constitute prayers and are called
Mantras, as for instance the most celebrated Gayatri
Mantra.
A Mantra is not the same thing as prayer or selfdedication (Atma-nivedana). Prayer is conveyed in the
words the Sadhaka chooses. Any set of words or letters
is not a Mantra. Only that Mantra in which the Devata
has revealed His or Her particular aspects can reveal
that aspect, and is therefore the Mantra of that one of
His or Her particular aspects. The relations of the letters
(Varna), whether vowel or consonant, Nada and Bindu,
in a Mantra indicate the appearance of Devata in
different forms. Certain Vibhuti or aspects of the
Devata are inherent in certain Varna, but perfect Shakti
does not appear in any but a whole Mantra. All letters
are forms of the Shabda-Brahman, but only particular
combinations of letters are a particular form, just as the
name of a particular being is made up of certain letters
and not of any indiscriminately. The whole universe is
Shakti and is pervaded by Shakti. Nada, Bindu, Varna
are all forms of Shakti and combinations of these, and
these combinations only are the Shabda corresponding
to the Artha or forms of any particular Devata. The
gross lettered sound is, as explained later, the
manifestation of sound in a more subtle form, and this
again is the production of causal "sound" in its supreme
(Para) form. Mantras are manifestations of

Kulakundalini (see Chapter on the same) which is a

name for the Shabda-Brahman or Saguna-Brahman in
individual bodies. Produced Shabda is an aspect of the
Jiva's vital Shakti. Kundalini is the Shakti who gives
life to the Jiva. She it is who in the Muladhara Cakra
(or basal bodily center) is the cause of the sweet,
indistinct and murmuring Dhvani which is compared to
the humming of a black bee. Thence Shabda originates
and, being first Para, gradually manifests upwards as
Pashyanti, Madhyama, Vaikhari (see post). Just as in
outer space, waves of sound are produced by
movements of air (Vayu), so in the space within the
Jiva's body, waves of sound are said to be produced
according to the movements of the vital air (Pranavayu)
and the process of in and out breathing. As the Svarupa
of Kundali, in whom are all sounds, is Paramatma, so
the substance of all Mantra, Her manifestation, is
Consciousness (Cit) manifesting as letters and words. In
fact, the letters of the Alphabet which are called
Akshara are nothing but the Yantra of the Akshara or
Imperishable Brahman. This is however only realized
by the Sadhaka, when his Shakti generated by Sadhana
is united with Mantra-Shakti. Kundalini, who is
extremely subtle, manifests in gross (Sthula) form in
differing aspects as different Devatas. It is this gross
form which is the Presiding Deity (Adishthatri Devata)
of a Mantra, though it is the subtle (Sukshma) form at
which all Sadhakas aim. Mantra and Devata are thus
one and particular forms of Brahman as Shiva-Shakti.

Therefore the Shastra says that they go to Hell who

think that the Image (or "Idol" as it is commonly called)
is but a stone and the Mantra merely letters of the
alphabet. It is therefore also ignorance of Shastric
principle which supposes that Mantra is merely the
name for the words in which one expresses what one
has to say to the Divinity. If it were, the Sadhaka might
choose his own language without recourse to the eternal
and determined sounds of Shastra. (See generally as to
the above the Chapter on Mantra-tattva in Principles of
Tantra, Ed. A. Avalon.) The particular Mantra of a
Devata is that Devata. A Mantra, on the contrary,
consists of certain letters arranged in definite sequence
of sounds of which the letters are the representative
signs. To produce the designed effect, the Mantra must
be intoned in the proper way, according to both sound
(Varna) and rhythm (Svara). For these reasons, a
Mantra when translated ceases to be such, and becomes
a mere word or sentence.
By Mantra, the sought-for (Sadhya) Devata appears,
and by Siddhi therein is had vision of the three worlds.
As the Mantra is in fact Devata, by practice thereof this
is known. Not merely do the rhythmical vibrations of its
sounds regulate the unsteady vibrations of the sheaths
of the worshipper, but therefrom the image of the
Devata appears. As the Brihad-Gandharva Tantra says
(Ch. V):

Shrinu devi pravakshyami bijanam

deva-rupatam
Mantrochcharanamatrena devarupam prajayate.
Mantrasiddhi is the ability to make a Mantra efficacious
and to gather its fruit in which case the Sadhaka is
Mantra-siddha. As the Pranatoshini (619) says,
"Whatever the Sadhaka desires that he surely obtains."
Whilst therefore prayer may end in merely physical
sound, Mantra is ever, when rightly said, a potent
compelling force, a word of power effective both to
produce material gain and accomplish worldly desires,
as also to promote the fourth aim of sentient being
(Caturvarga), Advaitic knowledge, and liberation. And
thus it is said that Siddhi (success) is the certain result
of Japa or recitation of Mantra.
Some Mantras constitute also what the European would
call "prayers," as for instance the celebrated Gayatri.
But neither this nor any other Mantra is simply a prayer.
The Gayatri runs Om (The thought is directed to
the three-fold Energy of the One as represented by the
three letters of which Om is composed, namely, A or
Brahma, the Shakti which creates; U or Vishnu, the
Shakti which maintains; and M or Rudra, the Shakti
which "destroys," that is, withdraws the world): Nada
and Bindu, Earth, Middle region, Heaven (of which as
the transmigrating worlds of Samsara, God, as Om, as
also in the form of the Sun, is the Creator). Let us

contemplate upon the Adorable Spirit of the Divine

Creator who is in the form of the Sun (AdityaDevata). Map He direct our minds, towards attainment
of the four-fold aims (Dharma, Artha, Kama,
Moksha) of all sentient beings. Om. This great Mantra
bears a meaning on its face, though the Commentaries
explain and amplify it. The Self of all which exists in
the three regions appears in the form of the Sun-god
with His body of fire. The Brahman is the cause of all,
and as the visible Devata is the Eye of the World and
the Maker of the day who vivifies, ripens and reveals
all beings and things. The Sun-god is to the sun what
the Spirit (Atma) is to the body. He is the Supreme in
the form of the great Luminary. His body is the Light of
the world, and He Himself is the Light of the lives of all
beings. He is everywhere. He is in the outer ether as the
sun, and in the inner ethereal region of the heart. He is
the Wondrous Light which is the smokeless Fire. He it
is who is in constant play with creation (Srishti),
maintenance (Sthiti) and "destruction" (Pralaya); and by
His radiance pleases both eye and mind. Let us adore
Him that we may escape the misery of birth and death.
May He ever direct our minds (Buddhivritti) upon the
path of the world (Trivarga) and liberation (Moksha).
Only the twice-born castes and men may utter this
Gayatri. To the Shudra, whether man or woman, and to
women of all castes, it is forbidden. But the Tantra
Shastra has not the exclusiveness of the Vaidik system.
Thus the Mahanirvana provides (IV. 109-111) a

Brahma-gayatri for all: "May we know the Supreme

Lord. Let us contemplate the Supreme Essence. And
may the Brahman direct us." All will readily understand
such Mantras as the Gayatri, though some comment,
which is thought amusing, has been made on the
"meaningless" Om. I have already stated what it means,
namely, (shortly speaking) the Energy (Nada) in
Sadakhya Tattva which, springing from Shiva-Shakti
Tattva, "solidifies" itself (Ghani-bhuta) as the creative
Power of the Lord (Bindu or Ishvara Tattva)
manifesting in the Trinity or Creative Energies. For
further details see my Garland of Letters. "Om" then
stands for the most general aspect of That as the Source
of all. As it is recited, the idea arises in the mind
corresponding with the sound which has been said to be
the expression on the gross plane of that subtle "sound"
which accompanied the first creative vibration. When
rightly uttered this great syllable has an awe-inspiring
effect. As I heard this Mantra chanted by some hundred
Buddhist monks (one after the other) in a northern
monastery it seemed to be the distant murmuring roll of
some vast cosmic ocean. "Om" is the most prominent
example of a "meaningless" Mantra, that is, one which
does not bear its meaning on its face, and of what is
called a seed or Bija Mantra, because they are the very
quintessence of Mantra, and the seed (Bija) of the fruit
which is Siddhi (spiritual achievement). These are
properly monosyllabic. Om is a Vaidik Bija, but it is the
source of all the other Tantrik Bijas which represent

particular Devata aspects of that which is presented as a

whole in 0m. As a Mantra-Shastra, the Tantras have
greatly elaborated the Bijas, and thus incurred the
charge of "gibberish," for such the Bijas sound to those
who do not know what they mean. Though a Mantra
such as a Bija-mantra may not convey its meaning on
its face, the initiate knows that its meaning is the own
form (Svarupa) of the particular Devata whose Mantra
it is, and that the essence of the Bija is that which
makes letters sound, and exists in all which we say or
hear. Every Mantra is thus a particular sound form
(Rupa) of the Brahman. There are a very large number
of these short unetymological vocables or Bijas such as
Hrim, Shrim, Krim, Hum, Hum, Phat called by various
names. Thus the first is called the Maya Bija, the
second Lakshmi Bija, the third Kali Bija, the fourth
Kurca Bija, the fifth Varma Bija, the sixth Astra Bija.
Ram is Agni Bija, Em is Yoni Bija, Klim is Kama Bija,
Shrim is Badhu Bija, Aim Sarasvati Bija and so forth.
Each Devata has His or Her Bija. Thus Hrim is the
Maya Bija, Krim the Kali Bija. The Bija is used in the
worship of the Devata whose Mantra it is. All these
Bijas mentioned are in common use. There are a large
number of others, some of which are formed with the
first letters of the name of the Devata for whom they
stand, such as Gam for Ganesha, Dum for Durga.
Let us then shortly see by examples what the meaning
of such a Bija is. (For a fuller account see my Garland
of Letters.) In the first place, the reader will observe the

common ending "m" which represents the Sanskrit

breathings known as Nada and Bindu or Candrabindu.
These have the same meaning in all. They are the
Shaktis of that name appearing in the table of the 36
Tattvas given ante. They are states of Divine Power
immediately preceding the manifestation of the
objective universe. The other letters denote subsequent
developments of Shakti, and various aspects of the
manifested Devata mentioned below. There are
sometimes variant interpretations given. Take the great
Bhuvaneshvari or Maya Bija, Hrim. I have given one
interpretation in my Studies above cited. From the
Tantrik compendium, the Pranatoshini, quoting the
Barada Tantra we get the following: Hrim = H + R + I +
M. H = Shiva. R = Shakti Prakriti. I = Mahamaya. "M"
is as above explained, but is here stated in the form that
Nada is the Progenitrix of the Universe, and Bindu
which is Brahman as Ishvara and Ishvari (Ishvaratattva)
is described for the Sadhaka as the "Dispeller of
Sorrow". The meaning therefore of this Bija Mantra
which is used in the worship of Mahamaya or
Bhuvaneshvari is, that that Devi in Her Turiya or
transcendent state is Nada and Bindu, and is the causal
body manifesting as Shiva-Shakti in the form of the
manifested universe. The same idea is expressed in
varying form but with the same substance by the
Devigita (Ch. IV) which says that H = gross body, R =
subtle body, I = causal body and M = the Turiya or
transcendent fourth state. In other words, the Sadhaka

worshipping the Devi with Hrim, by that Bija calls to

mind the transcendent Shakti who is the causal body of
the subtle and gross bodies of all existing things. Shrim,
(see Barada Tantra) is used in the worship of Lakshmi
Devi. Sh = Alahalaksmi, R = Wealth (Dhanartham)
which as well as I = (satisfaction or Tushtyartham) She
gives. Krim is used in the worship of Kali. K = Kali
(Shakti worshipped for relief from the world and its
sorrows). R = Brahma (Shiva with whom She is ever
associated). I = Mahamaya (Her aspect in which She
overcomes for the Sadhaka the Maya in which as
Creatrix She has involved him). "Aim" is used in the
worship of Sarasvati and is Vagbhava Bija. Dum is used
in the worship of Durga. D = Durga. U = protection.
Nada = Her aspect as Mother of the Universe, and
Bindu is its Lord. The Sadhaka asks Durga as MotherLord to protect him, and looks on Her in her protecting
aspect as upholder of the universe (Jagaddhatri). In
"Strim." S = saving from difficulty. T = deliverer. R =
(here) liberation (Muktyartho repha ukto'tra). I =
Mahamaya. Bindu = Dispeller of grief. Nada = Mother
of the Universe. She as the Lord is the dispeller of
Maya and the sorrows it produces, the Savior and
deliverer from all difficulties by grant of liberation. I
have dealt elsewhere (Serpent Power) with Hum and
Hum the former of which is called Varma (armor) Bija
and the latter Kurca, H denoting Shiva and "u", His
Bhairava or formidable aspect (see generally Vol. I,
Tantrik Texts. Tantrabhidhana). He is an armor to the

Sadhaka by His destruction of evil. Phat is the weapon

or guarding Mantra used with Hum, just as Svaha (the
Shakti of Fire), is used with Vashat, in making
offerings. The primary Mantra of a Devata is called
Mula-Mantra. Mantras are solar (Saura) and masculine,
and lunar (Saumya) and feminine, as also neuter. If it be
asked why things of mind are given sex, the answer is
for the sake of the requirements of the worshipper. The
masculine and neuter forms are called specifically
Mantra and the feminine Vidya, though the first term
may be used for both. Neuter Mantras end with Namah.
Hum, Phat are masculine terminations, and "Tham" or
Svaha, feminine (seeSharadatilaka II. Naradapacaratra VII, Prayogasara, Pranatoshini 70).
The Nitya Tantra gives various names to Mantra
according to the number of the syllables such as Pinda,
Kartari, Bija, Mantra, Mala. Commonly however the
term Bija is applied to monosyllabic Mantras.
The word "Mantra" comes from the root "man" to
think. "Man" is the first syllable of manana or thinking.
It is also the root of the word "Man" who alone of all
creation is properly a Thinker. "Tra" comes from the
root "tra," for the effect of a Mantra when used with
that end, is to save him who utters and realizes it. Tra is
the first syllable of Trana or liberation from the
Samsara. By combination of man and tra,that is called
Mantra which, from the religious stand-point, calls
forth (Amantrana) the four aims (Caturvarga) of

sentient being as happiness in the world and eternal

bliss in Liberation. Mantra is thus Thought-movement
vehicled by, and expressed in, speech. Its Svarupa is,
like all else, consciousness (Cit) which is the ShabdaBrahman. A Mantra is not merely sound or letters. This
is a form in which Shakti manifests Herself. The mere
utterance of a Mantra without knowing its meaning,
without realization of the consciousness which Mantra
manifests is a mere movement of the lips and nothing
else. We are then in the outer husk of consciousness;
just as we are when we identify ourselves with any
other form of gross matter which is, as it were, the
"crust" (as a friend of mine has aptly called it) of those
subtler forces which emerge from the Yoni or Cause of
all, who is, in Herself Consciousness (Cidrupini). When
the Sadhaka knows the meaning of the Mantra he
makes an advance. But this is not enough. He must,
through his consciousness, realize that Consciousness
which appears in the form of the Mantra, and thus attain
Mantra-Caitanya. At this point, thought is vitalized by
contact with the center of all thinking. At this point
again thought becomes truly vital and creative. Then an
effect is created by the realization thus induced.
The creative power of thought is now receiving
increasing acceptance in the West, which is in some
cases taking over, and in others, discovering anew, for
itself, what was thought by the ancients in India.
Because they have discovered it anew, they call it "New
Thought"; but its fundamental principle is as old as the

Upanishads which said, "what you think that you

become". All recognize this principle in the limited
form that a man who thinks good becomes good, and he
who is ever harboring bad thought becomes bad. But
the Indian and "New Thought" doctrine is more
profound than this. In Vedantic India, thought has been
ever held creative. The world is a creation of the
thought (Cit Shakti associated with Maya Shakti) of the
Lord (Ishvara and Ishvari). Her and His thought is the
aggregate, with almighty powers of all thought. But
each man is Shiva and can attain His powers to the
degree of his ability to consciously realize himself as
such. Thought now works in man's small magic just as
it first worked in the grand magical display of the
World-Creator. Each man is in various degrees a
creator. Thought is as real as any form of gross matter.
Indeed it is more real in the sense that the world is itself
a projection of the World-thought, which again is
nothing but the aggregate in the form of the Samskaras
or impressions of past experience, which give rise to the
world. The universe exists for each Jiva because he
consciously or unconsciously wills it. It exists for the
totality of beings because of the totality of Samskaras
which are held in the Great Womb of the manifesting
Cit Itself. There is theoretically nothing that man cannot
accomplish, for he is at base the Accomplisher of all.
But, in practice, he can only accomplish to the degree
that he identifies himself with the Supreme/.
Consciousness and Its forces, which underlie, are at

work in, and manifest as, the universe. This is the basal
doctrine of all magic, of all powers (Siddhi) including
the greatest Siddhi which is Liberation itself. He who
knows Brahman, becomes Brahman to the extent of his
"knowing". Thought-reading, thought-transference,
hypnotic suggestion, magical projections (Mokshana)
and shields (Grahana) are becoming known and
practiced in the West, not always with good results. For
this reason some doctrines and practices are kept
concealed. Projection (Mokshana) the occultist will
understand. But Grahana, I may here explain, is not so
much a "fence" in the Western sense, to which use a
Kavaca is put, but the knowledge of how to "catch" a
Mantra thus projected. A stone thrown at one may be
warded off or caught and, if the person so wishes,
thrown back at him who threw it. So may a Mantra. It is
not necessary, however, to do so. Those who are
sheltered by their own pure strength, automatically
throw back all evil influences, which, coming back to
the ill-wisher, harm or destroy him. Those familiar with
the Western presentment of similar matters will more
readily understand than others who, like the Orientalist
and Missionary, as a rule know nothing of occultism
and regard it as superstition. For this reason their
presentment of Indian teaching is so often ignorant and
absurd. The occultist, however, will understand the
Indian doctrine which regards thought like mind, of
which it is the operation, as a Power or Shakti;
something therefore, very real and creative by which

man can accomplish things for himself and others. Kind

thoughts, without a word, will do good to all who
surround us, and may travel round the world to distant
friends. So we may suffer from the ill-wishes of those
who surround us, even if such wishes do not materialize
into deeds. Telepathy is the transference of thought
from a distance without the use of the ordinary sense
organs. So, in initiation, the thought of a true Guru may
pass to his disciple all his powers. Mantra is thus a
Shakti (Mantra Shakti) which lends itself impartially to
any use. Man can identify himself with any of nature's
forces and for any end. Thus, to deal with the physical
effects of Mantra, it may be used to injure, kill or do
good; by Mantra again a kind of union with the physical
Shakti is, by some, said to be effected. So the VishnuPurana speaks of generation by will power, as some
Westerners believe will be the case when man passes
beyond the domination of his gross sheath and its
physical instruments. Children will then again be
"mind-born". By Mantra, the Homa fire may, it is said,
be lit. By Mantra, again, in the Tantrik initiation called
Vedha-diksha there is, it is said, such a transference of
power from the Guru to his disciple that the latter
swoons under the impulse of the thought-power which
pierces him. But Mantra is also that by which man
identifies himself with That which is the Ground of all.
In short, Mantra is a power (Shakti) in the form of idea
clothed with sound. What, however, is not yet
understood in the West is the particular Thought-

science which is Mantravidya, or its basis. Much of the

"New Thought" lacks this philosophical basis which is
supplied by Mantravidya, resting itself on the Vedantik
doctrine. Mantravidya is thus that form of Sadhana by
which union is had with the Mother Shakti in the
Mantra form (Mantramayi), in Her Sthula and Sukshma
aspects respectively. The Sadhaka passes from the first
to the second. This Sadhana works through the letters,
as other forms of Sadhana work through form in the
shape of the Yantra, Ghata or Pratima. All such Sadhana
belongs to Shaktopaya Yoga as distinguished from the
introspective meditative processes of Shambhavopaya
which seeks more directly the realization of Shakti,
which is the end common to both. The Tantrik doctrine
as regards Shabda is that of the Mimamsa with this
exception that it is modified to meet its main doctrine of
Shakti,
In order to understand what a Mantra is, we must know
its cosmic history. The mouth speaks a word. What is it
and whence has it come'. As regards the evolution of
consciousness as the world, I refer my reader to the
Chapters on "Cit-Shakti and Maya-Shakti" dealing with
the 36 Tattvas. Ultimately, there is Consciousness
which in its aspect as the great "I" sees the object as
part of itself, and then as other than itself, and thus has
experience of the universe. This is achieved through
Shakti who, in the words of the Kamakalavilasa, is the
pure mirror in which Shiva experiences Himself
(Shivarupa-vimarshanirmala-darshah). Neither Shiva

nor Shakti alone suffices for creation. Shivarupa here =

Svarupa. Aham ityevamakaram, that is, the form (or
experience) which consists in the notion of "I". Shakti
is the pure mirror for the manifestation of Shiva's
experience as "I" (Aham). Aham ityevam rupam
janam tasya praka-shane nirmaladarshah; as the
commentator Natanananda (V-2) says. The notion is, of
course, similar to that of the reflection of Purusha on
Prakriti as Sattvamayi Buddhi and of Brahman on
Maya. From the Mantra aspect starting from Shakti
(Shakti-Tattva) associated with Shiva (Shiva-Tattva),
there was produced Nada, and from Nada, came Bindu
which, to distinguish it from other Bindus, is known as
the causal, supreme or Great Bindu (Karana, Para,
Mahabindu). This is very clearly set forth in
the Sharada Tilaka,a Tantrik work by an author of the
Kashmirian School which was formerly of great
authority among the Bengal Shaktas. I have dealt with
this subject in detail in my Garland of Letters. Here I
only summarize conclusions.
Shabda literally means and is usually translated
"sound," the word coming from the root Shabd "to
sound". It must not, however, be wholly identified with
sound in the sense of that which is heard by the ear, or
sound as effect of cosmic stress. Sound in this sense is
the effect produced through excitation of the ear and
brain, by vibrations of the atmosphere between certain
limits. Sound so understood exists only with the sense
organs of hearing. And even then it may be perceived

by some and not by others, due to keenness or

otherwise of natural hearing. Further the best ears will
miss what the microphone gives. Considering Shabda
from its primary or causal aspect, independent of the
effect which it may or may not produce on the sense
organs, it is vibration (Spandana) of any kind or
motion, which is not merely physical motion, which
may become sound for human ears, given the existence
of ear and brain and the fulfillment of other physical
conditions. Thus, Shabda is the possibility of sound,
and may not be actual sound for this individual or that.
There is thus Shabda wherever there is motion or
vibration of any kind. It is now said, that the electrons
revolve in a sphere of positive electrification at an
enormous rate of motion. If the arrangement be stable,
we have an atom of matter. If some of the electrons are
pitched off from the atomic system, what is called
radio-activity is observed. Both these rotating and
shooting electrons are forms of vibration as Shabda,
though it is no sound for mortal ears. To a Divine Ear
all such movements would constitute the "music of the
spheres". Were the human ear subtle enough, a living
tree would present itself to it in the form of a particular
sound which is the natural word for that tree. It is said
of ether (Akasha) that its Guna or quality is sound
(Shabda); that is, ether is the possibility of Spandana or
vibration of any kind. It is that state of the primordial
"material" substance (Prakriti) which makes motion or
vibration of any kind possible (Shabdaguna akashah).

The Brahman Svarupa or Cit is motionless. It is also

known as Cidakasha. But this Akasha is not created.
Cidakasha is the Brahman in which stress of any kind
manifests itself, a condition from which the whole
creation proceeds. This Cidakasha is known as the
Shabda-Brahman through its Maya-shakti, which is the
cause of all vibrations manifesting themselves as sound
to the ear, as touch to the tactile sense, as color and
form to the eye, as taste to the tongue and as odor to the
nose. All mental functioning again is a form of
vibration (Spandana). Thought is a vibration of mental
substance just as the expression of thought in the form
of the spoken word is a vibration affecting the ear. All
Spandana presupposes heterogeneity (Vaishamya).
Movement of any kind implies inequality of tensions.
Electric current flows between two points because there
is a difference of potential between them. Fluid flows
from one point to another because there is difference of
pressure. Heat travels because there is difference of
temperature. In creation (Srishti) this condition of
heterogeneity appears and renders motion possible.
Akasha is the possibility of Spandana of any kind.
Hence its precedence in the order of creation. Akasha
means Brahman with Maya, which Mayashakti or (to
use the words of Professor P. N. Mukhyopadhyaya)
Stress is rendered actual, from a previous state of
possibility of stress which is the Sakti's natural
condition of equilibrium (Prakriti = Samyavastha). In
dissolution, the Maya-Shakti of Brahman (according to

the periodic law which is a fundamental postulate of

Indian cosmogony) returns to homogeneity when in
consequence Akasha disappears. This disappearance
means that Shakti is equilibrated, and that therefore
there is no further possibility of motion of any kind. As
the Tantras say, the Divine Mother becomes one with
Paramashiva.
The Sharada says -- From the Sakala Parameshvara
who is Sacchidananda issued Shakti; from Shakti came
Nada; and from Nada issued Bindu.
Sacchidanandavibhavat sakalat
parameshvarat
Asicchhaktistato nado nadad
bindusamudbhavah.
Here the Sakala Parameshvara is Shiva Tattva. Shakti is
Shakti Tattva wherein are Samani, Vyapini, and Anjani
Shaktis. Nada is the first produced source of Mantra,
and the subtlest form of Shabda of which Mantra is a
manifestation. Nada is threefold, as Mahanada or
Nadanta and Nirodhini representing the first moving
forth of the Shabda-Brahman as Nada, the filling up of
the whole universe with Nadanta and the specific
tendency towards the next state of unmanifested Shabda
respectively. Nada in its three forms is in the Sadakhya
Tattva. Nada becoming slightly operative towards the
"speakable" (Vacya), (the former operation being in
regard to the thinkable (Mantavya) ) is called

Arddhacandra which develops into Bindu. Both of these

are in Ishvara Tattva. This Mahabindu is threefold as
the Kamakala. The undifferentiated Shabda-Brahman or
Brahman as the immediate cause of the manifested
Shabda and Artha is a unity of consciousness (Caitanya)
which then expresses itself in three-fold function as the
three Shaktis, Iccha, Jana, Kriya; the three Gunas,
Sattva, Rajas, Tamas; the three Bindus (Karyya) which
are Sun, Moon and Fire; the three Devatas, Rudra,
Vishnu, Brahma and so forth. These are the product of
the union of Prakasha and Vimarsha Shakti. This
Triangle of Divine Desire is the Kamakala, or Creative
Will and its first subtle manifestation, the Cause of the
Universe which is personified as the Great Devi
Tripurasundari, the Kameshvara and Kameshvari, the
object of worship in the Agamas. Kamakalavilasa, as
explained in the work of that name, is the manifestation
of the union of Shiva and Shakti, the great "I" (Aham)
which develops through the inherent power of its
thought-activity (Vimarsha-Shakti) into the universe,
unknowing as Jiva its true nature and the secret of its
growth through Avidya Shakti. Here then there appears
the duality of subject and object; of mind and matter, of
the word (Shabda) and its meaning (Artha). The one is
not the cause of the other, but each is inseparable from,
and concomitant with, the other as a bifurcation of the
undifferentiated unity of Shabda-Brahman whence they
proceed. The one cosmic movement produces at the
same time the mind and the object which it cognizes;

names (Nama) and language (Shabda) on the one hand;

and forms (Rupa) or object (Artha) on the other. These
are all parts of one co-ordinated contemporaneous
movement, and, therefore, each aspect of the process is
related the one to the other. The genesis of Shabda is
only one aspect of the creative process, namely, that in
which the Brahman is regarded as the Author of Shabda
and Artha into which the undifferentiated ShabdaBrahman divides Itself. Shakti is Shabda-Brahman
ready to create both Shabda and Artha on the
differentiation of the Parabindu into the Kamakala,
which is the root (Mula) of all Mantras. ShabdaBrahman is Supreme "Speech" (Para-Vak) or Supreme
Shabda (Para-Shabda). From this fourth state of
Shabda, there are three others -- Pashyanti, Madhyama
and Vaikhari, which are the Shabda aspect of the stages
whereby the seed of formless consciousness explicates
into the multitudinous concrete ideas (expressed in
language of the mental world) the counterpart of the
objective universe. But for the last three states of sound
the body is required and, therefore, they only exist in
the Jiva. In the latter, the Shabda-Brahman is in the
form of Kundalini Shakti in the Muladhara Cakra. In
Kundalini is Parashabda. This develops into the
"Matrikas" or "Little Mothers" which are the subtle
forms of the gross manifested letters (Varna). The
letters make up syllables (Pada) and syllables make
sentences (Vakya), of which elements the Mantra is
composed. Para Shabda in the body develops in

Pashyanti Shabda or Shakti of general movements

(Samanya Spanda) located in the tract from the
Muladhara to the Manipura associated with Manas. It
then in the tract upwards to the Anahata becomes
Madhyama or Hiranyagarbha sound with particularized
movement (Vishesha Spanda) associated with BuddhiTattva. Vayu proceeding upwards to the throat
expresses itself in spoken speech which is Vaikhari or
Virat Shabda. Now it is that the Mantra issues from the
mouth and is heard by the ear. Because the one cosmic
movement produces the ideating mind and its
accompanying Shabda and the objects cognized or
Artha, the creative force of the universe is identified
with the Matrikas and Varnas, and Devi is said to be in
the forms of the letters from A to Ha, which are the
gross expressions of the forces called Matrika; which
again are not different from, but are the same forces that
evolve into the universe of mind and matter. These
Varnas are, for the same reason, associated with certain
vital and physiological centers which are produced by
the same power that gives birth to the letters. It is by
virtue of these centers and their controlled area in the
body that all the phenomena of human psychosis run
on, and keep man in bondage. The creative force is the
union of Shiva and Shakti, and each of the letters
(Varna) produced there from and thereby are part and
parcel of that Force, and are, therefore, Shiva and
Shakti in those particular forms. For this reason, the
Tantra Shastra says that Devata and Mantra composed

of letters, are one. In short, Mantras are made of letters

(Varna). Letters are Matrika. Matrika is Shakti and
Shakti is Shiva. Through Shakti (one with Shiva) NadaShakti, Bindu-Shakti, the Shabda-Brahman or Para
Shabda, arise the Matrika, Varna, Pada, Vakya of the
lettered Mantra or manifested Shabda.
But what is Shabda or "Sound"? Here the Shakta Tantra
Shastra follows the Mimamsa doctrine of Shabda, with
such modifications as are necessary to adapt it to its
doctrine of Shakti. Sound (Shabda) which is quality
(Guna) of ether (Akasha) and is sensed by hearing is
twofold, namely, lettered (Varnatmaka Shabda) and
unlettered or Dhvani (Dhvanyatmaka Shabda). The
latter is caused by the striking of two things together,
and is apparently meaningless. Shabda, on the contrary,
which is Anahata (a term applied to the Heart-Lotus) is
that Brahman sound which is not caused by the striking
of two things together. Lettered sound is composed of
sentences (Vakya), words (Pada) and letters (Varna).
Such sound has a meaning. Shabda manifesting as
speech is said to be eternal. This the Naiyayikas deny
saying that it is transitory. A word is uttered and it is
gone. This opinion the Mlmamsa denies saying that the
perception of lettered sound must be distinguished from
lettered sound itself. Perception is due to Dhvani caused
by the striking of the air in contact with the vocal
organs, namely, the throat, palate and tongue and so
forth. Before there is Dhvani there must be the striking
of one thing against another. It is not the mere striking

which is the lettered Shabda. This manifests it. The

lettered sound is produced by the formation of the vocal
organs in contact with air; which formation is in
response to the mental movement or idea which by the
will thus seeks outward expression in audible sound. It
is this perception which is transitory, for the Dhvani
which manifests ideas in language is such. But lettered
sound as it is in itself, that is, as the Consciousness
manifesting Idea expressed in speech is eternal. It was
not produced at the moment it was perceived. It was
only manifested by the Dhvani. It existed before, as it
exists after, such manifestation, just as a jar in a dark
room which is revealed by a flash of lightning is not
then produced, nor does it cease to exist on its ceasing
to be perceived through the disappearance of its
manifester, the lightning. The air in contact with the
voice organs reveals sound in the form of the letters of
the alphabet, and their combinations in words and
sentences. The letters are produced for hearing by the
person desiring to speak, and become audible to the ear
of others through the operation of unlettered sound or
Dhvani. The latter being a maifester only, lettered
Shabda is something other than its manifester.
Before describing the nature of Shabda in its different
form of development, it is necessary to understand the
Indian psychology of perception. At each moment, the
Jiva is subject to innumerable influences which from all
quarters of the Universe pour upon him. Only those
reach his Consciousness which attract his attention and

are thus selected by his Manas. The latter attends to one

or other of these sense-impressions and conveys it to
the Buddhi. When an object (Artha) is presented to the
mind, and perceived, the latter is formed into the shape
of the object perceived. This is called a mental Vritti
(modification) which it is the object of Yoga to
suppress. The mind as a Vritti is thus a representation of
the outer subject. But, in so far as it is such
representation, the mind is as much an object as the
outer one. The latter, that is, the physical object, is
called the gross object (Sthula artha), and the former or
mental impression is called the subtle object (Sukshma
artha). But, besides the object, there is the mind which
perceives it. It follows that the mind has two aspects, in
one of which it is the perceiver, and in the other the
perceived in the form of the mental formation (Vritti),
which in creation precedes its outer projection, and
after the creation follows as the impression produced in
the mind by the sensing of a gross physical object. The
mental impression and the physical object exactly
correspond, for the physical object is in fact but a
projection of the cosmic imagination, though it has the
same reality as the mind has; no more and no less. The
mind is thus both cognizer (Grahaka) and cognized
Grahya), revealer (Prakashaka) and revealed
(Prakashya), denoter (Vacaka) and denoted (Vacya).
When the mind perceives an object, it is transformed
into the shape of that object. So the mind which thinks
of the Divinity which it worships (Ishtadevata) is, at

length, through continued devotion, transformed into

the likeness of that Devata. By allowing the Devata thus
to occupy the mind for long, it becomes as pure as the
Devata. This is a fundamental principle of Tantrik
Sadhana or religious practice. The object perceived is
called Artha, a term which comes from the root "Ri,"
which means to get, to know, to enjoy. Artha is that
which is known and which, therefore, is an object of
enjoyment. The mind as Artha, that is in the form of the
mental impression, is an exact reflection of the outer
object or gross Artha. As the outer object is Artha, so is
the interior subtle mental form which corresponds to it.
That aspect of the mind which cognizes is called
Shabda or Nama (name), and that aspect in which it is
its own object or cognized is called Artha or Rupa
(form). The outer physical object, of which the latter is
in the individual an impression, is also Artha or Rupa,
and spoken speech is the outer Shabda. The mind is
thus, from the Mantra aspect, Shabda and Artha, terms
corresponding to the Vedantic Nama and Rupa or
concepts and concepts objectified. The Mayavada
Vedanta says that the whole creation is Nama and Rupa.
Mind as Shabda is the Power (Shakti) the function of
which is to distinguish and identify
(Bhedasamsargavritti-Shakti).
Just as the body is causal, subtle and gross, so is
Shabda, of which there are four states (Bhava) called
Para, Pashyanti, Madhyama and Vaikhari. Para sound is
that which exists on the differentiation of the

Mahabindu before actual manifestation. This is

motionless, causal Shabda in Kundalini, in the
Muladhara center of the body. That aspect of it in which
it commences to move with a general, that is, nonparticularized, motion (Samanya Spanda) is Pashyanti
whose place is from the Muladhara to the Manipura
Cakra, the next center. It is here associated with Manas.
These represent the motionless and first moving Ishvara
aspect of Shabda. Madhyama Shabda is associated with
Buddhi. It is Hiranyagarbha sound (Hiranyagarbharupa)
extending from Pashyanti to the heart. Both Madhyama
sound which is the inner "naming" by the cognitive
aspect of mental movement, as also its Artha or subtle
(Sukshma) object (Artha) belong to the mental or subtle
body (Sukshma or Linga Sharira). Perception is
dependent on distinguishing and identification. In the
perception of an object that part of the mind which
identifies and distinguishes and thus "names" or the
cognizing part is, from the Shabda aspect, subtle
Shabda: and that part of it which takes the shape of, and
thus constitutes, the object (a shape which corresponds
with the outer thing) is subtle Artha. The perception of
an object is thus consequent on the simultaneous
functioning of the mind in its two-fold aspect as Shabda
and Artha, which are in indissoluble relation with one
another as cognizer (Grahaka) and cognized Grahya).
Both belong to the subtle body. In creation Madhyama
sound first appeared. At that movement there was no
outer Artha. Then the Cosmic Mind projected this inner

Madhyama Artha into the world of sensual experience

and named it in spoken speech (Vaikhari Shabda). The
last or Vaikhari Shabda is uttered speech, developed in
the throat, issuing from the mouth. This is Virat Shabda.
Vaikhari Shabda is therefore language or gross lettered
sound. Its corresponding Artha is the physical or gross
object which language denotes. This belongs to the
gross body (Sthula Sharira). Madhyama Shabda is
mental movement or ideation in its cognitive aspect and
Madhyama Artha is the mental impression of the gross
object. The inner thought-movement in its aspect as
(Vacaka) and denoted (Vacya). When the mind
perceives an object, it is transformed into the shape of
that object. So the mind which thinks of the Divinity
which it worships (Ishtadevata) is, at length, through
continued devotion, transformed into the likeness of
that Devata. By allowing the Devata thus to occupy the
mind for long, it becomes as pure as the Devata. This is
a fundamental principle of Tantrik Sadhana or religious
practice. The object perceived is called Artha, a term
which comes from the root "Ri," which means to get, to
know, to enjoy. Artha is that which is known and which,
therefore, is an object of enjoyment. The mind as Artha,
that is in the form of the mental impression, is an exact
reflection of the outer object or gross Artha. As the
outer object is Artha, so is the interior subtle mental
form which corresponds to it. That aspect of the mind
which cognizes is called Shabda or Nama (name), and
that aspect in which it is its own object or cognized is

called Artha or Rupa (form). The outer physical object,

of which the latter is in the individual an impression, is
also Artha or Rupa, and spoken speech is the outer
Shabda. The mind is thus, from the Mantra aspect,
Shabda and Artha, terms corresponding to the Vedantic
Nama and Rupa or concepts and concepts objectified.
The Mayavada Vedanta says that the whole creation is
Nama and Rupa. Mind as Shabda is the Power (Shakti)
the function of which is to distinguish and identify
(Bhedasamsargavritti-Shakti).
The gross Shabda called Vaikhari or uttered speech, and
the gross Artha or the physical object denoted by that
speech are the projection of the subtle Shabda and
Artha, through the initial activity of the ShabdaBrahman into the world of gross sensual perception.
Therefore, in the gross physical world, Shabda means
language, that is, sentences, words and letters which are
the expression of ideas and are Mantra. In the subtle or
mental world, Madhyama sound is the Shabda aspect of
the mind which "names" in its aspect as cognizer, and
Artha, is the same mind in its aspect as the mental
object of its cognition. It is defined to be the outer in
the form of the mind. It is thus similar to the state of
dreams (Svapna), as Parashabda is the causal dreamless
(Sushupti), and Vaikhari the waking (Jagrat) state.
Mental Artha is a Samsara, an impression left on the
subtle body by previous experience, which is recalled
when the Jiva reawakes to world experience, and
recollects the experience temporarily lost in the cosmic

dreamless state (Sushupti) which is destruction

(Pralaya). What is it which arouses this Samskara? As
an effect (Kriya) it must have a cause (Karana). This
Karana is the Shabda or Name (Nama) subtle or gross
corresponding to that particular Artha. When the word
"Ghata" is uttered, this evokes in the mind the image of
an object, namely, a jar; just as the presentation of that
object does. In the Hiranyagarbha state, Shabda as
Samskara worked to evoke mental images. The whole
world is thus Shabda and Artha, that is Name and Form
(Nama, Rupa). These two are inseparably associated.
There is no Shabda without Artha or Artha without
Shabda. The Greek word "Logos" also means thought
and word combined. There is thus a double line of
creation, Shabda and Artha; ideas and language together
with objects. Speech as that which is heard, or the outer
manifestion of Shabda, stands for the Shabda creation.
The Artha creation are the inner and outer objects seen
by the mental or physical vision. From the cosmic
creative standpoint, the mind comes first, and from it, is
evolved the physical world according to the ripened
Samskaras which led to the existence of the particular
existing universe. Therefore, the mental Artha precedes
the physical Artha which is an evolution in gross matter
of the former. This mental state corresponds to that of
dreams (Svapna), when man lives in the mental world
only. After creation which is the waking ( Jagrat) state,
there is for the individual an already existing
parallelism of names and objects.

Uttered speech is a manifestation of the inner naming or

thought. This thought-movement is similar in men of all
races. When an Englishman or an Indian thinks of an
object, the image is to both the same, whether evoked
by the object itself or by the utterance of its name. For
this reason possibly if thought-reading be accepted, a
thought-reader whose cerebral center is en rapport with
that of another, may read the hidden "speech," that is
thought, of one whose spoken speech he cannot
understand. Thus, whilst the thought-movement is
similar in all men, the expression of it as Vaikhari
Shabda differs. According to tradition there was once a
universal language. According to the Biblical account,
this was so, before the confusion of tongues at the
Tower of Babel. Similarly there is, (a friend tells me
though he has forgotten to send me the reference), in
the Rigveda, a mysterious passage which speaks of the
"Three Fathers and three Mothers," by whose action
like that of the Elohim "all-comprehending speech" was
made into that which was not so. Nor is this unlikely,
when we consider that difference in gross speech is due
to difference of races evolved in the course of time. If
the instruments by which, and conditions under which
thought is revealed in speech, were the same for all men
then there would be but one language. But now this is
not so. Racial characteristics and physical conditions,
such as the nature of the vocal organs, climate,
inherited impressions and so forth differ. So also does
language. But for each particular man speaking any

particular language, the uttered name of any object is

the gross expression of his inner thought-movement. It
evokes the idea and the idea is consciousness as mental
operation. That operation can be so intensified as to be
itself creative. This is Mantra-Caitanya.
It is said in the Tantra Shastras that the fifty letters of
the alphabet are in the six bodily Cakras called
Muladhara, Svadhisthana, Manipura, Anahata,
Vishuddha and Aja. These 50 letters multiplied by 20
are in the thousand-pealed Lotus or Sahasrara.
From the above account, it will be understood that,
when it is said that the "Letters" are in the six bodily
Cakras, it is not to be supposed that it is intended to
absurdly affirm that the letters as written shapes, or as
the uttered sounds which are heard by the ear are there.
The letters in this sense, that is, as gross things, are
manifested only in speech and writing. This much is
clear. But the precise significance of this statement is a
matter of some difficulty. There is in fact no subject
which presents more difficulties than Mantravidya,
whether considered generally or in relation to the
particular matters in hand. I do not pretend to have
elucidated all its difficulties.
What proceeds from the body is in it in subtle or causal
form. Why, however, it may be asked are particular
letters assigned to particular Cakras. I have heard

several explanations given which do not, in my opinion,

bear the test of examination.
If the arrangement be not artificial for the purpose of
Sadhana, the simplest explanation is that which follows:
From the Brahman are produced the five Bhutas, Ether,
Air, Fire, Water, Earth, in the order stated; and from
them issued the six Cakras from Aja to Muladhara.
The letters are (with the exception next stated) placed in
the Cakras in their alphabetical order; that is, vowels as
being the first letters or Shaktis of the consonants
(which cannot be pronounced without them) are placed
in Vishuddha Cakra: the first consonants Ka to Tha in
Anahata and so forth until the Muladhara wherein are
set the last four letters from Va to Sa. Thus in Aja there
are Ha and Ksha as being Brahmabijas. In the next or
Vishuddha Cakra are the 16 vowels which originated
first. Therefore, they are placed in Vishuddha the
ethereal Cakra; ether also having originated first. The
same principle applies to the other letters in the Cakras.
namely, Ka, to Tha (12 letters and petals) in Anahata;
Da to Pha (10) in Manipura; Ba to La (6) in
Svadhisthana; and Va to Sa (4) in Muladhara. The
connection between particular letters and the Cakras in
which they are placed is further said to be due to the
fact that in uttering any particular letter, the Cakra in
which it is placed and its surroundings are brought into
play. The sounds of the Sanskrit alphabet are classified
according to the organs used in their articulation, and
are guttural (Kantha), palatals (Talu), cerebrals

(Murddha), dentals (Danta) and labials (Oshtha). When

so articulated, each letter, it is said, "touches" the Cakra
in which it is, and in which on this account it has been
placed. In uttering them certain Cakras are affected; that
is, brought into play. This, it is alleged, will be found to
be so, if the letter is carefully pronounced and attention
is paid to the accompanying bodily movement. Thus, in
uttering Ha, the head (Aja) is touched, and in uttering
the deep-seated Va, the basal Cakra or Muladhara. In
making the first sound the forehead is felt to be
affected, and in making the last the lower part of the
body around the root-lotus. This is the theory put forth
as accounting for the position of the letters in the
Cakras.
A Mantra is, like everything else, Shakti. But the mere
utterance of a Mantra without more is a mere
movement of the lips. The Mantra must be awakened
(Prabuddha) just like any other Shakti if effect is to be
had therefrom. This is the union of sound and idea
through a knowledge of the Mantra and its meaning.
The recitation of a Mantra without knowing its meaning
is practically fruitless. I say "practically" because
devotion, even though it be ignorant, is never wholly
void of fruit. But knowledge of the meaning is not
enough; for it is possible by reading a book or receiving
oral instructions to get to know the meaning of a
Mantra, without anything further following. Each
Mantra is the embodiment of a particular form of
Consciousness or Shakti. This is the Mantra-Shakti.

Consciousness or Shakti also exists in the form of the

Sadhaka. The object then is to unite these two, when
thought is not only in the outer husk, but is vitalized by
will, knowledge, and action through its conscious
center in union with that of the Mantra. The latter is
Devata or a particular manifestation of Shakti: and the
Sadhaka who identifies himself therewith, identifies
himself with that Shakti. According to Yoga when the
mind is concentrated on any object it is unified with it.
When man is so identified with a Varna or Tattva, then
the power of objects to bind ceases, and he becomes the
controller. Thus, in Kundalini-Yoga, the static bodily
Shakti pierces the Cakras, to meet Shiva-Shakti in the
Sahasrara. As the Sadhaka is, through the power of the
rising Shakti, identified with each of the Centers,
Tattvas and Matrika Shaktis they cease to bind, until
passing through all he attains Samadhi. As the Varnas
are Shiva-Shakti, concentration on them draws the mind
towards, and then unifies it with, the Devata which is
one with the Mantra. The Devata of the Mantra is only
the creative Shakti assuming that particular form. As
already stated, Devata may be realized in any object,
not merely in Mantras, Yantras, Ghatas, Pratimas or
other ritual objects of worship. The same power which
manifests to the ear in the Mantra is represented in the
lines and curves of the Yantra which, the Kaulavali
Tantra says, is the body of the Devata:
Yantram mantramayam proktam
mantratma devataiva hi

Dehatmanor yatha bhedo yantra-devata

yoshtatha.
The Yantra is thus the graphic symbol of the Shakti,
indicated by the Mantra with which identification takes
place. The Pratima or image is a grosser visual form of
the Devata. But the Mantras are particular forms of
Divine Shakti, the realization of which is efficacious to
produce particular results. As in Kundalini- Yoga, so
also here the identification of the Sadhaka with
different Mantras gives rise to various Vibhutis or
powers: for each grouping of the letters represents a
new combination of the Matrika Shaktis. It is the
eternal Shakti who is the life of the Mantra. Therefore,
Siddhi in Mantra Sadhana is the union of the Sadhaka's
Shakti with the Mantra Shakti; the identification of the
Sadhaka with the Mantra is the identification of the
knower (Vedaka), knowing (Vidya) and known (Vedya)
or the Sadhaka, Mantra and Devata. Then the Mantra
works. The mind must feed, and is always feeding,
something. It seizes the Mantra and works its way to its
heart. When there, it is the Citta or mind of the Sadhaka
unified with the Shakti of the Mantra which works.
Then subject and object, in its Mantra form, meet as
one. By meditation the Sadhaka gains unity with the
Devata behind, as it were, the Mantra and Whose form
the Mantra is. The union of the Sadhaka of the Mantra
and the Devata of the Mantra is the result of the effort
to realize permanently the incipient desire for such

union. The will towards Divinity is a dynamic force

which pierces everything and finds there Divinity itself.
It is because Westerners and some Westernized Hindus
do not understand the principles of Mantra; principles
which lie at the center of Indian religious theory and
practice, that they see nothing in it where they do not
regard it as gross superstition. It must be admitted that
Mantra Sadhana is often done ignorantly. Faith is
placed in externals and the inner meaning is often lost.
But even such ignorant worship is better than none at
all. "It is better to bow to Narayana with one's shoes on
than never to bow at all." Much also is said of "vain
repetitions". What Christ condemned was not repetition
but "vain" repetition. That man is a poor psychologist
who does not know the effect of repetition, when done
with faith and devotion. It is a fact that the inner
kingdom yields to violence and can be taken by assault.
Indeed, it yields to nothing but the strong will of the
Sadhaka, for it is that will in its purest and fullest
strength. By practice with the Mantra, the Devata is
invoked. This means that the mind itself is Devata when
unified with Devata. This is attained through repetition
of the Mantra (Japa).
Japa is compared to the action of a man shaking a
sleeper to wake him up. The Sadhaka's own
consciousness is awakened. The two lips are Shiva and
Shakti. The movement in utterance is the "coition"
(Maithuna) of the two. Shabda which issues therefrom
is in the nature of Bindu. The Devata then appearing is,

as it were, the son of the Sadhaka. It is not the supreme

Devata who appears (for It is actionless), but in all
cases an emanation produced by the Sadhaka's worship
for his benefit only. In the case of worshippers of the
Shiva-Mantra, a Boy-Shiva (Bala-Shiva) appears who
is then made strong by the nurture which the Sadhaka
gives him. The occultist will understand all such
symbolism to mean that the Devata is a form of the
Consciousness which becomes the Boy-Shiva, and
which, when strengthened is the full-grown Divine
Power Itself. All Mantras are forms of consciousness
(Vijanarupa), and when the Mantra is fully practiced it
enlivens the Samskara, and the Artha appears to the
mind. Mantras used in worship are thus a form of the
Samskaras of Jivas; the Artha of which manifests to the
consciousness which is pure. The essence of all this is
-- concentrate and vitalize thought and will power, that
is Shakti.
The Mantra method is Shaktopaya Yoga working with
concepts and form, whilst Shambhavopaya Yoga has
been well said to be a more direct attempt at intuition of
Shakti, apart from all passing concepts, which, as they
cannot show the Reality, only serve to hide it the more
from one's view and thus maintain bondage. These
Yoga methods are but examples of the universal
principle of Sadhana, that the Sadhaka should first work
with and through form, and then, so far as may be, by a
meditation which dispenses with it.

It has been pointed out to me by Professor Surendra

Nath Das Gupta that this Varna-Sadhana, so important a
content of the Tantra Shastra, is not altogether its
creation, but, as I have often in other matters observed,
a development of ancient Vaidik teaching. For it was,
he says, first attempted in the Aranyaka Epoch upon the
Pradkopasana on which the Tantrik Sadhana is, he
suggests, based; though, of course, that Shastra has
elaborated the notion into a highly complicated system
which is so peculiar a feature of its religious discipline.
There is thus a synthesis of this Pratikopasana with
Yoga method, resting as all else upon a Vedantic basis.