88 - Radhadimantra - Nirupanam (Mantras of Radha and others) 

Suta said: 

1-2. O brahmins, after hearing thus of the mode of worship of all incarnations along with their mantra and procedure of meditation, Narada of divine vision, humbly asked him of the names of incarnations of Shri Radha, the primordial mother of the universe. 

Narada said: 

3. O sage, I am blessed and contented thanks to your grace, since I have heard the greatness of the mantras of the mother of the universe. 

4-5. Just as the incarnations of Lakşhmi and others have been glorified, so also, (please recount) the greatness of the in carnations of Rådhå. I wish to hear it. O foremost among the knowers (of greatness) what is their number? What are their features and powers of the incarnations of Radha? Please recount them truly as all of them are the bestowers of all attainments. 

6. On hearing these words of Nárada, Sanatkumāra, the son of Brahma, meditated on the lotus-like feet of Rādha and said. 

Sanatkumara said: 

7. Listen, O brahmin, I shall mention the secret of secrets, the story of the incarnations of Radha. It is the bestower of desired achievements to those who are devoted to her. 

8-11. Chandrávali and Lalită are the two everlasting beloved friends. Chandrávali is the chief among the group of eight beginning with Malavati. Lalita is the mistress of the eight beginning with Kalāvati. In the worship of Rådhā’s feet, Málavati and others are mentioned. Now listen to the names of those of whom Lalita is the chief. They are Kalåvatī, Madhumati, Vishakha, Shyamala, Shaivyä, Vrunda and Shridhară. They are possessed of the form similar to hers. There are other friends also mentioned to be thirtytwo among whom Sushila is their chief. 

12-15. O highly blessed one, listen to them. I shall mention their names. They are: Sushīlā, Shahsilekha, Yamuna, Madhavi, Rati, Kadambamálā, Kunti, Jāhnavi, Svayamprabha, Chandrånana, Padmamukhi, Savitri, Sudhamukhi, Subhā, Padma, Pärijäta, Gauriņi, Sarvamangalā, Kālika, Kamalā, Durga, Virajá, Bharati, Sură, Gangā, Madhumati, Sundari, Chandanā, Sati, Aparna, Manasa, Ananda, these are the thirtytwo friends of Rådhikā. 

16. Once, gentle lady Lalitä assumed the male form of Krishna. She created sixteen Kalas (parts) having the same lustre like her. 

17. O excellent sage, I shall describe their mantra, meditation and their mystic diagram and their mode of worship. It is a great secret in all Tantras. 

18-21.1 The following Shaktis are vowels: Vata (a) marut (a), agni (i), vahni (i), dhară (u), Jalam (ū), vibhu (1) svah (1), chara (c), shuch (ai), bhūh (0), vanam (au), kham (am). 

1.    These verses give the code of alphabets as followed by Tantraraja. There modes are quite different from those which we have followed so far. 

From the above account we do not find Visarga, but on the perusal of the text we find that shakti to represent Visarga. 

Pråna (ka), tejas (kha), Sthira (ga), vāḥ (gha), dyuh (na), väyu (cha), prabhā (cha), jyä (ja), kam (jha), abhram (na), nåda (ta), dāvah (tha), kuḥ (da), pātha (dha), vyoma (na), rayaḥ (ta), shikhi (tha), gotră (da), toyam (dha), śhünyam (na), javi (pa), dyuti (pha), bhūmi (ba), rasa (bha), nabhaḥ (ma), vyåpta (ya), dāha (ra), rasă (la), ambu (va), viyat (sa), sparsha (sa), hrut (sa), hamsa (ha) ilà (la), grása (kşha) are of the nature of hal (consonants), 

22. Rådhå herself is lying in grasa (ksha) and she is of the nature of shakti, the remaining sixteen are her kalas and the thirtytwo are known to be their kalās. 

23-25. The entire sphere of Vāk, o lord of sages, is permeated by these Shaktis, Shri Radhā1 has assumed the form of Sodashi (the sixteenth) among those led by Lalitā. She is called the goddess Sundarī by the Tántrikas. How Kurukulla Värähi and both Chandrāvalī and Lalitā came into being and the number of mantras also will be recounted by me to you in the Proper way. 

1. In order to colour the text with the Vaišhnava tradition Rådha is stated to be the Supreme Shakti and all things are her emanations. From the aspect of matruka she represents kshe, the last of the consonants, chadravali and Lalita, stand for hamsa (ha) and ila (la) respectively. The sixteen vowels are their kalas and consonants are the kalas of those vowels. Hence the entire creation of words is thus permeated with these Shaktis. 

Hrut (sa), prāņa (ka), ila (la), hamsa (ha) with dāha (ra), vahni (1) and sva (.) is cited as Lalitä.2 

2. This gives the vidya of Lalita which is as follows: Sakala hrim. 

26-27. With the difference of arrangement of hamsa (ha) she is of three forms, listen to it according to its sequence. The first one is preceded by hamsa, the intermediate one in which ha is lying in the middle and the third is the basic one: The fourth one is she herself with them (that is three groups of syllables) by the last hrim. Among the bijas the fourth one is conducive to liberation and the three others are conducive to possession. 

28-30. Thus the Vidya of Tripurasundari has been recounted. 

The bija of Vashini1 is mentioned by daha (ra), bhūmi (va), rasă (la), kşhma (ū) and sva (.) (that is vlüm). The great Kameśhvari bija is mentioned by prana (k), rasā (la) joined with Shakti (hrim) (that is kihrim). The mantra of Mohini is formed by the combination of shúnya (na), ambu (va), rasa (la), vahni (i) and sva (.) (nvlim). The bija of Vimalā is mentioned by the combination of vyảpta (ya), rasă (la), kşhmá (ū) and sva(.) (that is ylüm). By the combination of jya (ja), nabha (ma), daha (ra), vahni (i) and sva (.) the mantra of aruna is formed. 

1. These verses give the mantras of Vashini, Kameshvari, Modini, Vimala, And, Jeyini, Sarvasiddhikari, Kaulini. 

In Nityashodashikarnava we have these deities mentioned along with their bijas. The deities are connected with the letters of alphabets. These groups of eight are the presiding deities of the eight groups of alphabets respectively. Vamakeshvara Tantra adds that the deities being propitiated property, a person who worships them can have control over the entire world. See Nitya Sodha, p. 90. 

31-32. The mantra of Jayini2 is cited as the bestower of victory everywhere. The mantra consists of kam (jha), nabha (ma), daha (ra) vyāpta (ya), kşhmā (ū) and sva (m) (that is jhmryüm). 

2. The text does not give the mantra of Jayini. It may be restored from Tantraraja Tantra, Chap IV. p. 68 thus Hamsah Sahrudrasambuh syad vyapte svair yuto manuh.

The combination of the mantra is u follow: hamsah (ha) with hrui (sa) rasa (l), ambu (na), vyapta(ya), kshma (u) and sva (.) that is kslvyam

The commentator of T. R. takes kam as la, then the mantra will read  he ryam 

The nyasa rite makes the devotee one with the deity. His identification with the deity makes him worthy to worship her, for it is stated in the Tantra that after having attained Devihead in oneself one should worship Devi. 

The commentator of T. R. does not give the inner meaning of the word Yanatrita. He only states that it is to be known from the teacher. 

The mantra of Sarveshvari is the bestower of victory everywhere. 

The mantra of Kaulini consists of grasa (kşha), nabhah (ma), dåha (ra), vahni (1), sva (.) (that is kşhmrim). 

33. The nyåsa rite is to be performed with these eight mantras of śhaktis (vashini etc.) along with vargas (that is placing a k c ţ t p y sh) in the beginning and ending with vägdevata (vägdevatayai namah), by dint of which one should become one with the goddess. 

34. He should fix in the cerebral orifice, on the forehead, in the joint of the eyebrow, on the throat, in the heart, in the navel, in muladhara, in two feet from the root up to the end of them. 

35-37. He should perform the sadanga rite with the bija adding with six long vowels. 

He should meditate on Lalită, the red-complexioned one who is holding in her hands the arrows, the bow, the noose and the goad. She is joyous and kept in restraint on the lap of Kamaraja. The goddess stationed in the middle is only one but she assumes sixteen forms. Hence, one should worship the other fifteen in her limbs. Shiva is the sage, the metre is ukta, Lalita and others are the deities. 

38. Later on, I shall explain in detail the surrounding deities of Nityas and application of mantras in the chapter called Namasanchaya (the collection of names). 

39. Kameshvari 

Among the sixteen Nityä deities1 Kameśhvari is mentioned to be the second and is the bestower of all desires. Listen, O Närada. 

1. The deities called Nityas are sixteen. The central one is described as anginitya and the other Nityas are angas, the one is the body and the others are limbs. Lalita is Kameshvari seated in the lap of Kamešhvara. Her seat is in the centre of Shriyantra and her mantra according to our text is sakala hrim, ha is placed in the beginning, middle and end and by changing its positions other mantras are obtained. The fifteen Nityas are but the emanations and the surrounding deities of the Adya Nitya and serve as veils (avruti). 

40-42. Shuchi (e) is joined with sva (.) Lalitā shall be the second. Shünya, agni, raya and vyäpta (i.e. nitya), prana, rasă, agni, the pair of shūnya, chara, nabho gotră, (i.e. Klinnamada) gotrā (da) again is attached with dáha (ra), ambu (va) is joined with chara (e) (i.e. drave), hrut (sa) is joined with shakti (:) and vana (au) (i.e. sauh). This Kameśhvari Nitya consists of eleven letters. It is the bestower of desires. 

43-46. He should conceive the six angas with the mulavidya in the proper sequence. With one, the heart is conceived, the head is also conceived with that much, the advayam the tuft with the third and the fourth, with the fifth and sixth kavacha, with seventh. eighth, ninth and tenth the eye, and with the one viz the last one astra is to be done. He should fix the syllables of vidyā in the pair of eyes, ears and nostrils, in the tongue, in the heart, in the navel, in the anus. Then he should perform the nyásas1 spreading it all over the limbs beginning with the head and ending with the forefoot. Then again, he should perform the nyāsa of the syllables of vidya in these locations. Thereafter, with the entire thing he should perform the vyāpaka rite in the aforesaid manner. 

 1. The nyasa on the limbs and fingers are performed with the letters of the mantra. The procedure is given in the verse. It should be remembered that each syllable should be attached with the jati (i.e. namah, sväha, vashat etc). 

The vyäpaka nyása is prescribed to be performed after all the nyasas. See Commentary of T. R.p. 126. 

Henceforth, I shall mention meditation which is prescribed for the daily ritual and whereby the deity being highly pleased grants the desired objects without any strain. 

47-51. Meditation: She resembles a crore of rising suns, who is shining splendidly with ruby-set crown. She is bedecked in necklaces, garlands, girdles, rings, anklets and other ornaments. She has six arms and three eyes, the digit of the moon has adorned her crest. She is present in a lotus of five2 petals, eight petals, sixteen petals, two circles, a hexagon and a square. Her gentle smile heightens the beauty of her face, she has slow benign look of mercy. She holds in her hands, noose,3 goad, sugarcane bow, the flower arrows, a jewelled vessel full of nectar and a boon. Thereafter, the devotee should apply the mantra for practical purposes when the mantra has become mature. 

2. The diagram is to be drawn in the following method. At first draw a square, inside which draw a hexagon, two circles apart from each other by one digit, then draw a third circle apart from the second by four digits. Then draw five petals round the inmost circle, then draw eight petals round the second, and sixteen petals round the third circle. 

3. The weapons are to be conceived as placed in the left upper hand and then in the lower hand and then in the third lower hand. In the same way the three other weapons are conceived to be held by the deity first by the upper hand and then by the second and by the lower, and then the last one by the lowest hand. 

52-73. Bhagamalini 

 I shall say about the third named Bhagamalini. The first syllable of Kåmeśhvari is the first (that is aim), then rasa (bha), sthira (ga) rasa (bha) attached v. th dharā (u), then sthiră (ga) with chara (e) (that is bhuge), then rasa (bha), sthira (ga) and śhünya (na) joined with agni (i) (that is gni), then rasa (bha) sthira (ga) with (o) (that is bhago) gotra (da) with dâha (ra) and agni (i) (that is bhagodari), then rasa (bha), sthirå (ga), nabha (ma) joined with marut (a), rasa (la) attached with chara (e) (i.e. bhagavahe), then rasa (bha) sthira (ga)joined with marut (a), ambu(va), haṁsa(ha) attached with chara (e) (i.e. bhaga vahe) then rasa (bha), sthirā (ga) then sthira (ga) joined with dharā(u) (gu), hamsa (ha) is attached with vyāpta(ya) and chara (e) (bhagaguhye), then rasa (bha), sthira (ga), vyápta (ya) attached with bhu (o) shūnyam (na) joined with agni (1) (bhagayoni), rasa (bha), sthịră (ga), śhūnya (na) with agni (i) marut (a) with javi (pa), raya (ta) agni(i),śhünya with agni(i) (bhaganipatini), then hrut (sa), daha (ra) with ambu (va), (that is sarva), rasa (bha), sthira (ga) (bhaga), ambu (va), viyat (sa) with bindu (.), präņa (ka) dāha (ra) with agni (i) (that is sarvabhagavashamkari), then rasa (bha), sthirā (ga), kşhma (u) is attached with dāha (ra) (i.e. ru), this again is joined with chara (e) and javi (pa) (that is bhagarūpe), then from the former vidya (that is Kameśhvari) the letters from the third onward i.e. the four consecutive letters are to be taken (they are nityaklinne) then rasa (bha) then sthira (ga) then hrut (sa) is joined with ambu (va), then daha (ra) is attached with kşhma (u) (i. e. rū), javi (pa), is joined with chara (e) that is bhaga svarūpe), hrut (sa) is joined with daha, ambu and marut (va, å and ra) ( = sarva), vyoma (na) is joined with agni (i) (sarvāni) then rasa (bha), sthiri (ga) joined with marut (a) shünyam (na) with agni (i), then nabha and chara (ma and e), then hamsa (ha) joined with vyāpta and marut(yaandá),śhünyam (na) vyāpta (ya), then ambu (va), daha (ra) with chara (c)(varade). dåha (ra) is similarly so (i.e. re) and raya ta is also like that (i.e. te), then hrut (sa) with dhara (u) (i.e. su) is joined with daha and raya along with (e) (i.e. rete), rasa (bha) sthiră (ga) then prāņa (ka) with rasa (la), agni (i) (kli), then the pair of shūnyā (nna along with chara (e) (i.e. bhagaklinne), then the two letters of the former are the first two that follows, that is, kli then the pair of shünya (na), (klinna), then gotra (da) with daha (ra) (dra) then chara (e) with ambu (va) (drave) then prana (ka) along with chara (c) and rasa (la) (kle), gotrā (da) vyápta (ya) gotra (da) with dåha (ra) and marut (a) ambu (va) vyäpta (ya) (dravaya). Vata (a), nabha (ma) joined with bhu (o), vaḥ (gha) (amogha) then chara (c) (amoghe), rasa (bha) sthira (ga) ambu (va) with agni (i) and the pair of våyu (cha and cha) with chara (c) (bhaga vicce), then grasa (kşha) with dhară (u), rasa (bha) with shakti (:), then again grasa (kşha) with bhuḥ (0) rasa and vyāpta (bhaya) (that is kşhobhaya), then hrut (sa) daha (ra) with ambu (va), hrut (sa), raya (ta) with ambu (va) and marut (a) then shünya (na) without the vowel sound (that is sarvasattvän), then raså (bha) and sthira (ga) is joined with chara (e), viyat (sha) is joined with ambu (va), dāha (ra) is joined with agni (i) (ahageśhvari). Then shuchi  (ai) is joined with sva (.) (aim), Bhumi (ba) is attached with rasa and kşhmă and sva (bhum), this composite seed lies in five places after the other. The five seed mantras are adorned with bindu. They are as follows: jyä (ja) with chara (e) (jem), rasa (bha) (bhem) and bhuḥ(o) is joined with nabha (ma) (mom), hamsa (ha) with chara (c) (hem), it comes twice (hem), then präņa (ka) is joined with rasa (la), agni (i) (kli), then the pair of shünya (nn) joined with chara (c) (klinne), then hrut (sa) daha (ra) ambu(va) with marut (a) (sarva) vyoma (na) with agni (i) rasa (bha) sthira (ga) is joined with marut (a) then śhünya (na) with agni (i) (sarvåņi bhagåni), nabha with chara (me) ambu (va) viyat (sha), nabha (ma) joined with marut (4) shünya (na) vyipta (ya) (mc vashamānaya) then hrut (sa) is associated with raya, daha, sva and vahni (strim), then hamsa (ha) with daha (ra) anbu (va) rasa (la) chara (e) svam (.) (hruvlem), then the last one is hamsa (ha) is joined with dåha, (r) vahni (i) and sva (.) (hrim). This nitya, called Bhagamalini is made of one hundred and thirtyfive letters. 

74-78. The angas are to be conceived with the first syllable of the mantra. With the first letter the nyasa on the head (is performed) then with the four the head is cited, with the three the tuft is prescribed, then with three groups of four1 the remaining limbs are prescribed (i.e. kavacha, netra and astra to be fixed in sequence). 

1. Guanavedaksharaih means the four syllables for kavacha, netra and astra for each. These three are gunas and veda means four. For performing the nyasa rite four syllables are taken separately from the mantra and fixed in the above-mentioned locations. 

He should then meditate on the goddess who is pink-red in colour. She is a beautiful lady with pink embellishment. She has a smiling face with three eyes and six arms. She is seated on a lotus. She holds in her left hand the kalhāra flower, the noose, the bow of Pundra variety of sugarcane. In her right hands she holds a lotus, the goad and the flower arrow. She is surrounded on all sides with the groups of Shaktis similar in form and who are eulogised by the other deities emanated from the letters. They are of the nature of intoxicating love and rapturous in excitement. Thus, the third deity has been mentioned who is the enchantress of the mind of women. 

79-83. O great sage, listen to the fourth vidya called Nityaklinna. Hamsa (ha) is joined with dåha (ra), vahni (i) and sva (.) (i. e. hrim) and the eight letters beginning from the three belonging to Kåmeśhvari (i.e. Nityaklinne madadrave), then hrut (sa), ambu (va) and marut (a) and hamsa (ha) is joined with marut (a) svähà. It contains eleven letters. The angas are to be conceived with the letters of vidya. The hrudaya is to be conceived with the first (bija) and with two each of the remaining limbs are to be conceived. He shall perform the nyasa rite beginning with the root of the thumb and ending with the tip of the little finger and then going up. Then fixing the remaining letters in two palms he should fix the syllables in the heart, in the eyes, in the cars, in the two nostrils, in the skin, in the penis, in the anus, and in the feet. 

84-86. He should meditate thus: She is red and pink in embellishment. She is clad in pink garments. Her garlands and unguents are pink-coloured. Her lotus-like face wears a charming smile. Her face appears splendid with the three eyes. She shines with pearl-like drops of sweat on her forehead. The crescent moon adorns the crest of her crown. In her four hands she holds the noose, the goad, the drinking vessel and fearlessness. She occupies a lotus as her seat. She is slow and lazy due to intoxication. 

87. After meditating thus he should worship Nitya called Nityaklinna along with her śhaktis. Osage, the meritorious fourth deity has been recounted, who is called Nityaklinna. 

88-92. By the repetition of the mantra, women, delicate like fresh butter, melt as butter melts in contact with fire. 

Bhuh (o) joined with sva (.) (om), then prāna (ka) joined with daha (ra) and with the former letter that is krom), similarly, rasa (bha) joined with dāha(ra) and the former(om) (bhrom), again prāņa (ka) joined with däha (ra) and with vana (0) and sva (.) (krom), then kam (jha) joined with dāha (ra) and with that (i. e. om) (jhrom), then prabhå (cha) joined with daha (ra) and that (i.e, om) (chrom), then jya (ja) joined with daha (ra) and with that (om) and the last two letters of Nityaklinna i.e. sváha. This nine-syllabled mantra of Bherunda is the bestower of all attainments. He should fix the six angas with six syllables lying in the middle excluding om and svāha. 

Then he should perform the rite of varnanyasa (nyasa with letters). He should fix in the cerebral orifice, in the middle of the eye-brow, in the mouth, in the throat, in the heart, in the navel, in the chara, and on the pair of feet. After performing the måtrukányása he should fix nine syllables. Henceforth, I shall mention meditation of the goddess. It is the bestower of all attainments. 

93-95. Meditation 

Her body resembles molten gold. She has three eyes. She has a charming smile beautifying her face. She is bedecked in divine ornaments. She is embellished with ear-rings, necklace, shoulderlets and cluster of jewels. She is exceedingly beautiful with ornaments like girdle, anklet, ring etc. She is holding in her hands the noose, the goad, the shield, the sword, the iron club, thunderbolt, bow and arrows. She is seated during the worship but differently at the time of practical application. 

96-97. The shaktis have the same form and features who are adorned with shining weapons. They are surrounding her and have smiling faces. The devotee should worship vijaya etc. O leading sage, thus the fifth deity has been recounted. She is called Bherundā. Merely by remembering her, three kinds of poisons are destroyed instantaneously. 

98. O excellent brahmin, the sixth deity is Nitya called vahnivasini. Listen to the procedure of her worship. It is the bestower of excellent attainments on the aspirant. 

99-100. The first syllable of Bherundă is the first syllable of her and the second syllable of her is the first syllable of Nityaklinna (i.e. om hrim) then ambu (va), shūnya (na) along with hamsa (ha) and agni (i) (that is vahni), then ambu (va) joined with marut (a) then hrut (sa) joined with marut (i) (si), then shūnya (na) joined with vyāpta (ya) and shuchi (ai) (nyai) then again shūnya (na) joined with nabha (ma) with śhakti (:) (i.e. namah). Thus the nine-syllabled mantra is mentioned. 

101. One should add long vowels with the second bija of vidyā. After the syllable maya (hrim) and the six vowels at its end he should conceive angas into the limbs and the hands. 

102-103a. One should fix nine syllables of vidya in the nine holes of the body. He shall perform nyasa spreading over the limbs with the entire mantra for the realisation of self. 

103b-109a. Meditation: She resembles the molten gold. She is a beautiful lady in the fresh bloom of youth. Her lotus-like face wears a charming smile. Her three eyes shine splendidly. She possesses eight arms. Ornaments set in ruby make her shine well. Her garments are made to appear red due to the combination of rays from the ruby on her crown. She is clad in yellow silk garments. Her anklets and girdle are bejewelled. She looks splendid with the bunches of flowers and ornaments mingling with pearls forming red hue. With her left hand she holds a jewelled lotus, the couch, the bow of Pundra variety of sugarcane and the disc of full moon. In her right hands she holds Kalhara, a golden horn, the flower arrow and måtulunga (pomegranate), on all sides she is surrounded by Shaktis having the same form and features. After meditating thus he should worship vahnivåsini (of fiery form). By remembering her the three worlds become subservient. 

109b-110a. O sage, then there is the seventh deity. She is Mahāvajreśhvari Nitya. I shall mention her vidyā which yields excellent siddhis unto the aspirant. 

110b-113. Mahávajreśhvari Nitya Vidya 

The second syllable of Vahnivåsini (hrim), then the fourth (and fifth) syllable of Nityaklinnā (klinne), the first syllable of Bhagamală (aim), the second syllable of Bherunda (krom), then the second, third, sixth, seventh, eighth, ninth syllables (nitya mada) and the first syllable of her becomes the last (hrim). 

He shall make them into groups of two, one, one, two, two, and two syllables. After making them encased in hrim, he should conceive the six angas. He should perform the nyasa with all the syllables separately encased in hrim each and do it in six limbs with the ten syllables of the mantra one after the other. 

114-119. He should fix them in the eyes, ears, nose, speech, heart, navel, and the private parts. 

Meditation 

She is red-complexioned and clad in red garments. She has red fragrant garlands and ornaments. She has four arms and three eyes. She is highly brilliant with the ruby-set crown. In her hands she holds the noose, goad, sugarcane bow, and arrows made of pomegranate flowers. With her merciful, subduing and cool eyes she glances at the devotee. She is comfortably seated in the chakra diagram with the triangle, a hexagon, lotus and the square. Her lotus-like face is charming with a smile. She is surrounded by Shaktis of similar features like her. She is staying in the middle of a raft. She is surrounded by the Shaktis seated in rafts that swing all round her throne. She is in the middle of a pink sea in which the rafts move to and fro. She is chatting jokingly with those shaktis. Thus one should meditate on the mistress of mantras placed in the red sea. This is said to be the seventh deity. Now listen to the eighth Dúti. 

120-121. Dūti: The last syllable of vajreśhvari is the first syllable (hrim), then viyat (sa) joined with agni (i), then ambu (va) joined with marut (a), gotra (da) joined with kshmå (u), then raya (ta) joined with vyåpta (ya) and shuchi (ai) and the last two syllables of vahnivåsini (namah). Thus the Dūti Nitya is mentioned. 

122-126. The nyása on six limbs is performed with the first syllable of the vidya, after having joined it with six long vowels. Then encasing the mantra within he should do the nyåsa in five limbs beginning with the car and fix the sixth in the mind. Then he should perform the pervasive nyasa with the vidyå. 

Meditation on the deity 

She has the lustre of the midday sun of the summer season. Her crown has all the nine gems set in it. She has three eyes. Her garments are pink-coloured. She has the refulgence of ornaments. She has pure smiles. She has eight arms and is being eulogised by great sages, In her left arms she holds the noose, iron club, mace and the jewelled bowl. In her right arms she holds the goad, sword, dagger and the lotus. She is always engaged in granting boons to her devotees. 

127. After meditating thus, one should worship the goddess Dūti, the destroyer of immoral conduct. Thus, the remover of all mishaps has been recounted unto you. 

128-131a. O Närada, I shall tell you about Tvarità Nityā, the ninth one, who causes glory, the giver of Shivahood and the bestower of all siddhis. She grants fame, learning, wealth, health and happiness. 

The first syllable of vahnivåsini (om) and the first syllable of Dūti (hrim), hamsa (ha), dhară (u) joined with sva (.) (hum), teja (kha) with chara (c) (khe), väyu (ca), prabbá (cha) joined with chara (c) (cche), grasa (kşha) is joined with shakti (:) (kshah) vahni () is associated with hrut (sa), raya (ta) daha (ra) and agni (i) (stri) which is the eighth bija. Then hamsa (ha) is joined with kşhma (u) and sva.) (hum), then grasa (ksha) is joined with chara (c) (kşhe) then the second syllable of her again (hrim), then dyuti (pha) is joined with nåda (ta). Thus 

Tvarità Nitya consists of twelve syllables. 

132b-135. He shall conceive the angas with seven letters of the vidya beginning with the fourth and then taking two for each he should perform the nyasa of fingers and six limbs. 

By placing the second in the first, then the first in the second and then again the second and the ten mantras in the middle, he should fix the mantras on the head, forehead, throat, heart, navel, mūládhāra, the pair of thumbs, knees, calves and the pair of feet. The mantra begins with om. Now listen to the mode of meditation which brings about all siddhis. 

She is dark-coloured. She has auspicious features. She is splendid in the freshness of youth. Eight serpents in four pairs constitute her shining ornaments such as ear-rings, shoulderlets, girdle and anklets. They are of four castes of brahmins, Kshatriyas, Vaishyas and Shūdras. Their bodies are huge and terrible. She is clad in shoots of leaves as her clothes. Her arms are bedecked in bangles which are adorned with pretty looking peacock feathers. She is resplendent on account of the ruby-set crown. Her crown, her umbrella and her emblem too are adorned with peacock feathers. The string of berries shines over her breasts where saffron is scattered over. She has a charming face of three eyes. Her lotus-like face wears a sweet smile. Her four hands shine holding a noose, a goad, fearlessness and the granting of boon. 

141-143a. After meditating on goddess Totala (Tvarită) thus, one should worship her surrounded by the Shaktis. Goddess Sphatkári is staying before her shining with arrows and bow and is hurrying in, being pleased and granting boons to the devotee. O lord of sages, thus the ninth vidyå called Tvarită has been recounted. 

143b-1452. Kulasundari Nitya: 

The first is shuchi (ai) joined with sva (.), then the second is pråpa (ka) joined with rasa (la) and Vahni (i) (Klim), the third is vana (au) hrut (sa) and Shakti (:) (sauh). Thus the Kulasundari Nitya consisting of three syllables has been recounted. A mere remembrance of her yields omniscience. 

145b-150a. The devotee shall perform nyasa properly in the fingers, on the limbs and in the mouth with the three bijas, joining them with long vowels. He should do it in the beginning of the ritual, before the japa, in the middle of the japa and after the japa. Then he should perform the Vaktranyåsa in due sequence in the upper, the east, the south, the north and the lower faces putting aim in the beginning and nati (namah) at the end, placing the vaktra name in the middle, He shall fix the mantra in the adhāra, in the cerebral orifice and in the heart first, then secondly in three eyes. Thirdly in the ears and the chin, fourthly in the nostrils and the palate, fifthly in the shoulders and the navel, and lastly in the hands and the pair of feet. He should perform nyása nine times at the root, middle and the tip. 

150b-156. Meditation 

She is red-complexioned. She is served by the group of Shaktis with red features. She has red garments, ornaments, garlands and unguents. She has six lotus-like faces. She shines resplendently in her ruby-set crown studded with costly jewels and gems. Her chest is refulgent with the cluster of lustre of a bunch of jewels. She is auspicious. She is highly blissful in showing grace and is seated in a red lotus seat. She is adorned with twelve arms. In her right hands she holds the literary heritage of all, the coral rosary garland, a lotus, a jewelled water-bowl, a bowl full of jewels, a citron and the gesture of explanation. In her left hand she holds the book, a red lotus, a gold stylus, a jewel garland, a conch and the boon. On all sides she is being eulogised by gods, Gandharvas, Yakşhas, Rakshasas, Daityas, Sages, Siddhas, Vidyadharas and others. 

After meditating thus, he should worship the Nitya for achieving fluency of speech, good fortune and splendour. 

157-158. In order to attain the fluency of speech the white-complexioned goddess is to be worshipped; the gold complexioned one for attaining good fortune, for mitigating the enmity of foes, for their death and restraint; the blue one shall be remembered for causing dumbness. Thus for different purposes different aspects of the goddess are to be remembered. 

Thus the tenth Kulasundari has been recounted to you. 

159-161. Now, I shall tell you of the tenth Nitya, having three composite mantras. It is the combination of hamsa (ha), hrut (sa), präņa (ka) däha (ra), kuh (da). It is joined with the vidyā of Kulasundari according to the tradition. This Nitya consists of three syllables after being joined with the six composite letters then after being joined in the opposite order and multiplied in seventytwo 1 different ways. By worshipping her man shall become a siddha and happy, able to become a Khechara. 

1. In Kulasundari Vidya there are six syllables. By permutation and combination, the vidya becomes seventytwo in number. 

162. He will be able to exercise punishment and show grace to the three worlds. The six nyåsas are to be performed by means of ha and sa along with long vowels. 

163. He should fix the syllables of vidya in due order between the eyebrows, in the throat, in the heart, in the navel, in the private parts and in the mūládhāra. The letters of the vidyā should be fixed in due order joining bindu to each of them. 

164. After performing the pervasive nyåsa with the entire mantra in the proper procedure, he should meditate on the goddess Shivå who is identical with everything for the purpose of obtaining all riches. 

165-168. She is resplendent as the disc of the rising sun, she shines with ruby-set crown, she is embellished with ruby stones, she is clad in red silken garment, she is brilliant with six lotus-like faces shining with charming smiles. She has three eyes in every face, has twelve arms in the left of which she holds the noose, the rosary, the rope, the bow of Pundara variety of sugarcane, the iron club and the trident. In her right hands she holds the goad, the book, the flower arrow, the lotus, the human skull and the gesture of fearlessness. He should meditate on the goddess with the mind not turning to anything else. 

169-172. Nilapataka 

Thus the eleventh deity has been recounted Närada, listen to the twelfth one. The first syllable shall be the penultimate one of Tvarità (hrim), then dyuti (pha) is joined with däha (ra), chara (e) and bindu (.) (phrem), then hrut (sa) is attached with daha (ra), kşhmä (u) and bindu (.) (srum), the fifth of vajreshi (om) is the fourth, then marut (a) with bindu (.) (am), the middle and the first bija of the tenth vidyă (i.e. kulasundari) (klim, aim), then bhūmi (va), rasa (la), kşhma (ū) attached with bindu (.) (i.e. blūm), then the letters from the sixth onward belonging to vajreśhī (nityamadadrave), then the third belonging to Tvarită (hum), then dyuti (pha) dāha (ra) chara (c) and bindu (.) (phrem), then the first letter belonging to her (hrim). Thus the Nityå called Nilapatākā consisting of seventeen syllables has been recounted. 

173-175a. The angas are conceived by means of the syllables of the mantra grouped into two, two, five, two and six syllables in each. He shall fix all the seventeen syllables of the mantra in the ears, in the nostrils, in the vak (speech), in the throat, in the heart, in the navel, in the ådhåra and in the joints of the feet, in the proper order. He shall duly perform the pervasive nyåsa rite with the entire mantra. 

175b-180a. Meditation of the deity 

She resembles sapphire and shines with a crown set with brilliant jewels. She has five faces and three eyes. She is clad in red silk garments. She has ten hands and is bedecked in refulgent ornaments of pearls and jewels. Her body is richly decorated with clusters of gems and jewels, her faces beam with charming smiles. In her left hands embellished with all ornaments she holds the noose, the flag, the shield, the śáranga bow and boon. In her right hands she holds the goad, the shakti (javelin), the sword, the arrow, and the gesture of fearlessness. She is seated on a lotus seat and is surrounded by a group of śhaktis resembling the same feature, complexion, dress, facial look, ornaments and weapons in the hands. She should be worshipped as surrounded by the shaktis in the ritual of the Nitya deity. 

180b-184. After drawing mystic diagram of a lotus containing eight petals inside a triangle within a hexagon and an eight-petalled lotus, outside surrounded by two bhūpuras. These two puras must have four doorways in the four quarters. The figure must have subways. Thus the deity should be surrounded by the group of Shaktis and then worshipped. This twelfth Nitya called Nilapatakini has been recounted to you. She is the bestower of powers like paduka, anjana, khadga and victory in the battles. She is the giver of powers over vetala, yakşhiņi, chetas pishachas etc. She enables one to discover treasure trove, ready cooked food, urged by the devotee’s desire. 

O Narada, henceforth, I shall describe the thirteenth Nityå, listen to it. 

185-87. Vijaya Nitya 

Rasa (bha), nabha (ma), daha (ra), vyāpta (a), kşhma (ú) joined with vana (au) and bindu (.) (bhmyaraum). Thus Osage, the vidya Vijaya consists of a single combined bija. The four letters of consonants combined with long vowels are to be used for conceiving the angas. Then with the remaining two one should perform the nyāsa rite of the six limbs in the fingers and in the limbs of the body. He should perform nyasa on all the organs of senses beginning with the ears and ending in the chitta, He should fix syllables in the proper order adding bindu to them. 

188-192. Meditation on the deity 

She has five faces and ten hands. She has three eyes in each of the faces. She is resplendent with a shining crown adorned with the crescent moon. She has all ornaments and is brilliant in her yellow garments. The lustre of her body is like the disc of the rising sun. She has pure smiles. In her left hands she holds the conch, the noose, the iron club, the bow and the kalhåra flower. In her right hands she holds the discus, the goad, the sword, the arrow and the pomegranate. For the practical purpose she is thought of as terrible-looking, but during the devotional worship she is very gentle and seated on a lion. On all sides she is surrounded by Shaktis riding on tigers. She is seated comfortably during the battle, at the time of worship and during other rituals of practical utility she is to be thought of so seated. 

193. The Shaktis too are comfortably seated in the course of worship. All the deities have similar facial features and weapons in their hands. 

194. After drawing two squares with four nice doors and eight pathways he should worship therein as before. 

195-196. Inside of it, there must be two circles, within it one should draw an octagon. Inside of it is the mystic lotus of sixteen petals. He should make another lotus of eight petals and invoke the deity therein. He should then worship her with the requisite services. She must be surrounded by the respective Shaktis. 

197. This is mentioned to be the thirteenth deity. She is the bestower of victory in argument and in the battle. 

Henceforth, I shall mention the Nityā called Sarvamangala. 198-204. Sarvamangala 

Hrut (sa), ambu (va), vana (au), are joined with sva (.) is the nityā sarvamangalā (svaum). It is a single-syllabled mantra. One who has achieved siddhi in this vidyā becomes the wanderer in the void instantaneously. He should fix the mulavidyå along with long vowels in six limbs of the body. 

He should meditate on that Nitya of golden lustre with ornaments set in pearls and rules. She has a ruby-set crown and has two benign looks of her eyes. She has two arms. She is seated in her seat of lotus with thirtytwo petals. The seat has four doorways and two bhūpuras. In her lotus-like right hand she holds a pomegranate. With her left hand she grants riches to her devotees. On all sides, she is surrounded by Shaktis similar to herself. She is accompanied by another group of seventysix Shaktis emanated from the letters. During prayogas (practical application) she is different, but during the daily rituals she is associated with those aforesaid Shaktis. This is mentioned as the fourteenth deity. Now listen to the fifteenth. 

205-213. Jvälāmālini 

Bhū (o), two śhünyas (na na) then bhū along with nabha (mo) (onnamo), then rasa (bha), sthira (ga), ambu (va), raya (ta) joined with agni (i) (bhagavati), then jyä (ja) along with ambu (va) marut (a) (jya), then rasa (la) with marut (a), then nabha (ma) with marut (a), then rasa and śhünya (la and na) are joined with agni (i) each, gotra (da) joined with chara (c), then ambu (va), then the previous letter (i.e. de) and ambu (va) is joined with agni (i) (devi), then hrut (sa) daha (r) ambu (ra and va) (sarva), then rasa (bha) and kşhmå (ū) raya (la) hrut (sa) joined with sva (.), then hamsa (ha) is associated with marut (a) then added to dāha (ra) (i.e. sarvabhūtasamhåra ) then pråņa is joined with marut (ka with a) (ka), then dāha (ra) with agni (i) (i. c. kari), then prāņa (ka with raya (e) (ke), then jyà (ja) joined with marut (ā), raya (ta), ambu (va) with chara (e) (ve), then gotrå (da) hrut (sa) with agni (i) (i.e. jațavedasi, then jyā (ja) with ambu (va) (jva) rasa (la), (i.e. jvala) it should be repeated (i.e jvala jvala), then jvala (pa) joined with daha (ra) and associated with the former two letters (i.e. prajvala). It should also be uttered twice. Then hamsa (ha) joined with dâha (ra) and vahni (i) and sva (.) (hrim), then hamsa (ha) kşhmå (u) and sva (.) (hum), then daha (ra) should be uttered seven times, then the words from the eighth to the twelfth letter of the vidyå should be uttered, then the penultimate letter of the Nilapataka vidyā (hum), the ultimate letters of Tvaritä (phat) and the eighth and the ninth letters of Bherundå are to be uttered (svāhā). 

The Nitya Jvälámålini is cited. It consists of sixtythree syllables. 

The six angas should be conceived by one, two, four, five, four and ten letters of the mülamantra from the beginning. He should perform nyasa in fingers and limbs of the body. Then with the remaining letters of the mantra one should perform the pervasive nyasa. Then he should meditate on the eternal deity. 

214-216. She is as resplendent as the blazing fire. She shines with ruby-set crown. She has six faces and twelve arms. She is bedecked with all ornaments. In the pairs of lotus-like hands she holds the noose and the goad, the sword and the iron club, the bow and the arrows, the mace and the conch, the trident and the fire, the boon and fearlessness. On all sides, she is surrounded by Shaktis of her own mature Her lotus-like face shines with charming smiles. She has three eyes. 

217-218. After drawing two squares equipped with four doors and branches in the middle he shall draw an eight-petalled lotus. Thereafter, he shall make a triangle and a hexagon inside. After making a triangle within a hexagon he shall worship Shiva therein. 

The fifteenth deity is thus mentioned to you. O Nárada, listen to the sixteenth one. 

219-220. Chitra 

Vayu (ca), pråņa (ka), vana (au) and sva (.) (chakaun) is chitra which consists of two syllables which when achieved is conducive to the acquisition of wealth, food, grain, the realisation of self and of treasure. He should conceive the six angas with (cha) the first of the vidyä, joining it with long vowels and do the nyāsa in the proper sequence. He should perform the matrukā nyasa along with vidya in the aforesaid manner. 

221-224. Meditation: 

She resembles the shining disc of the rising sun and is adorned with nine kinds of precious gems. Her crown is studded with nine precious jewels and is highly resplendent with the silk garments. She has four arms, three eyes, pure smiling and bright face. She is of the form of bliss of every kind, a Nitya who is the bestower of all desires. In her four hands she holds the noose, the goad, the gestures of boon and fearlessness. She is stationed in the pericarp of the lotus, which (the pericarp) is made of nine triangles like that of Sarvamangala. In the chakra (diagram) she should be worshipped along with the Shaktis like those of Sarvamangala. 

225-229. Prana and daha attached each with dhară (i.e. kuru), then again the first (ka) joined with (u) and the pair of rasa (la) along with marut (a) (kulla)1, then vyāpta (ya) with marut and shakti (yah) then bhuh joined with sva (om), then again the three syllables (kuruku) and the pair of rasa (lla) along with chara (c), then hamsa (ha) joined with daha (ra), vahni 

1. Kurukulla Vidya consists of twentyfive syllables. It has three divisions. The deity is known as the balidevata (receiver of offerings) belonging to the Nityas and is non-different from them. She is considered as a part or limb of Lalita. 

(1) and shakti (:) (hrih), then nabha (ma) uttered twice (mama), then hrut (sa) with dåha (r) joined with ambu (va) (sarva), then jyā (ja) along with shūnya (na) attached with sva (.) followed by ambu (va) viyat (sa) and nabha (ma) attached with marut (a), then again followed by śünya (na) and vyāpta (ya), then bhū is attached with hamsa (ha ha) and the pair of two syllables of the fifth deity (svähä). It takes three forms of mantra. 

From the sixth onward upto the tenth and the pair of the last when uttered is mentioned as of the first kind. The second is cited as when it is uttered from the eleventh and the last two syllables. The third is mentioned as consisted of twentyfive syllables. Thus the mantras are mentioned in their order. 

By means of the three bijas of Bālā or with the two or three mantras the six angas are to be conceived. 

230-232. He shall meditate as follows: She is naked. Her tresses are dishevelled. She is red-complexioned. She is of the form of bliss. She holds the bow, arrows, noose and goad. The deities outside have the same complexion, features and weapons. They have taken their bath after the menstrual flow. 

Their vaginal passages throb. Their eyes are always red and delighted. Thus, at the end of Kurukullā, Chandrabala herself told this. 

233-249. Värähi: 

Shuchi with sva (aim), then śhünya and bhu (namo), then rasa, sthira, ambu, ray, with agni (bhagavati), then ambu with marut (vā), the pair of raya (tta), attached with marut (ā) and agni (i) joined with ila (la) (vāttäli), these three are re peated once again, then ambu (va) is attached with marut (a) and daha with marut (ra) and hamsa with agni (hi), then these three are repeated once again, then ambu is attached with daha and marut, then hamsa (vāraha). Then gabha (ma) is joined with dhară (u) (mu) and teja (kha) joined with agni (i) mukhi), then these five syllables are repeated once again. Then våta (a) is joined with sva (m), then toya (dha) is joined with chara (e) (andhe), then again the previous letter (am), toya (dha) is joined with agai ) (dhi), then shünya (na) is joined with vyāpta and shuchi  (nyai), then again shūnya (aa) is joined with nabha (ma) with shakti (namaḥ). Then däha, dhară joined with sva (rum), then toya (dha) with chara (e) (dhe), these are to be attached with the former four syllables (.e. dhinyai namah) then jyä (ja) with bindu (jam) is joined with rasa (bha) and chara (e) (jambhe), then the previous jam is joined with rasa (bha) associated with agni (i) and the aforesaid (nyai namah), then again nabha is joined with bhu (mo) and hamsa with chara (mohe), then the syllable preceded by he is now joined with hamsa and agni (i) and the former nyai namaḥ these three are attached, then hrudayam (sa) joined with sva stam, rasa, and chara (bha), then again the previous one of this stam and rasa with agni (bhi) and then the former three (nyai namah). Then vāta (a), dhara with nabha (mu) prāņa with sva (kam), then hrudaya with sva (stam) rasa (bha) and vyāpta (ya) (stambhaya), this is repeated once again. Then hrut (sa) along with daha (r) and ambu (va) (sarva) followed by gotrå (da) joined with dharā (u) and sparsha (sa) with nåda (ta), then it is again joined with javi and dāha (pradusța) which is further joined with marut (a), śhünya (na) marut (a) sva (m) (nām), then again hrut (sa) is joined with dåha (ra) ambu (v) and chara (e) (sarve) which is again joined with sparsha (sa) and marut and sva (şam) then jyä with agni (ji) along with hamsa ambu and marut (hva) and hrudaya with sva (stam) which again is joined with rasa along with sva (bham), then präņa and dāha are attached with dhara (kuru), it is repeated, then vahni with viyat (shi) and våh (gha) along with daha (ra), joined with sya (m), then ambu (va) attached with viyat, vyåpta and sya (shyam), then the aforesaid kuru, then shuchi  attached with sva (aim), then sthiră (ga) rasa (la), vana (au) along with sva (.), then two thas (tha tha) and hamsa (h) is attached with dharã and sva (hum) then again dyuti with nāda (phat), then hrut, ambu along with marut (sva) and hamsa along with marut (ha). This is the vidyå with hundred and ten syllables. She is Värähi, Pañchami, Váruttali, Viśhvavijayā and is also known as Bhadra Kaumudi. She is the bestower of all desires such as arresting of enemies etc. The angas are to be conceived with the syllables of the mantra in groups of seven, six, ten, seven and seven letters adorned with the jätis namaḥ, svåhå etc. 

250-255. The devotec should make a diagram having a triangle, a circle, a hexagon and two circles. He should write his name there and worship her. He should meditate on her as follows: She has the face of a boar; she is refulgent as gold, up to the neck; she has the feminine form. She is like a tawny lotus that blazes. She has three eyes and eight hands. She holds in her hands a discus, conch, goad, noose, iron club, plough, fearlessness, boon. The devotee should think of her as seated comfortably on the shoulder of Garuda. O sage, in the case of daily rituals the devotee should remember her Shaktis similar to her. In the application he should think of her as seated on a lion or a tiger, or an elephant or a horse or Garuda along with Shaktis. Though she is dark in complexion, she is red, yellow and also has the body like the blue lotus. 

256-258. In different practical applications one should meditate on her according to the acquisition of different objects. Pañchami (i.e. Värähi) is to be thought of red complexion in the rites for attraction, yellowish for arresting, in the impassable path she should be meditated upon as dark-complexioned, in order to attain destruction of the enemy in the battle he should think of her as white-complexioned. The excellent brahmin aspirant shall meditate on her as smoke-coloured in the rites for exorcising. 

Thus these sixteen Nityà deities have been succinctly recounted to you. They are the bestowers of desired things on those who worship her. They cause instantaneous destruction of all sins.