ARTHUR AVALON.- TANTRIK TEXTS VOL, XXI TARA-BHAKTI-SSUDHARNAVA With an Introduction in English EpiteD BY PANCHANANA BHATTACHARYA Tarka-Sankhya-Vedgnta-tirtha, 1940 Catcurta : Lonpon : SANSKRIT BOOK DEPOT, LUZAC & CO, a-1, CORNWALLIS STREET, 4,, GREAT RUSSELL STREET, W.C. I,Inrropuction— Printed by NANICOPAL DUTT, At the Emerald Printing Works, 15, D. L. Roy Street, CALCUTTA, SSINTRODUCTION Tara-Bhakti-Sudharnava is a treatise on Tantric rituals and contains theoretic matter only incidentally. It is described as an ‘Arnava’ or ocean and is divided into eleven ‘Tarangas’ or waves. Jts author is Narasimha, a disciple of Gadadhara. Narasimha was born in the line of Ravikara of Mithila and was the fifth in descent from Govinda Thakkur, the author of Kavya-pradipa. He flourished about 1668 A.D. From his writing he appears to be later than Kamalikara Bhatta who wrote Nirnaya-sindhu in 1612 A. D. The treatise is written in lucid verse with occasional explanations in prose. It is concerned with the worship of Tara, one of the ten great forms ( Vidyas) of the Eternal Sakti. It should be pointed out that this Tara is not the celebrated goddess of the Bauddha Pantheon. CHAPTER I The book opens with the customary homage ( contained in the benedictory verses ) to the Supreme Being and to the Guru who is an embodiment of Siva, Just as there are obstacles and impediments to all actions, so also there are means of removing them, The ancient Indian authors are generally found to follow the practice of writing out benedictory verses or passages ( Mangala) at the very beginning of the treatises, mainly intended to impart a smooth, uahampered finis to their works. A benediction usually consists of hymns addressed to the cherished deity or to the Supreme Divinity. The old authors firmly believed that such benedictions were essential to the removal of all obstructions which hampered the progress of any book to its expected end.4 intropucttoy Besides, the benedictory verses serve a practical purpose, almost in all cases they give in a nutshell the subject-matter of the work, ze, they serve the purpose of a prelude. Then comes the subject-matter. This commences with the story of Nila Sarasvati in the form of a dialogue between the great God Mahadeva and His divine consort Parvati. Nila Sarasvati, as described, is the Supreme Knowledge in- carnate ( aegtfaat) through whose grace Brahma revealed the four Vedas, Vyasa, the Mahabharata and other sages— their sacred works, Her sovereignty in the domain of knowl- edge is held to be unquestionable, and nobody who is not favoured with her gracious look can ever aspire’ after or attain success in this realm. The next part deals with Mantras—the Mantras of Tara or Nila Sarasvati ( Tara and Nila Sarasvati being one and the same goddess with different names * ), The word, ‘Mantra’ is synonymous with the word ‘Bija’ or seed. Now, a seed is nothing but a tree in its minutest form. Similarly a Mantra or Bija is nothing but a god or goddess in his or her minutest form. A seed sown in good soil and properly taken care of, evolves a mighty tree when we may enrich ourselves with as much of its bounty as we may desire ; in like manner a Mantra plotted in a pure mind and cared for in strict adherence to the rules prescribed therefor, unfolds the great god or goddess through whose grace we may derive, assimilate and apply to our use as much of the divine powers as we may require. Hence, like the ordinary seeds indispensable for the attainment of ‘material’ fruits, the Bija-Mantras are indispensable for the attainment of fruits in the spiritual world. In other words, Mantras are the seeds of spiritual cultivation which is called ‘Sadhana’ or * In Tararnava mention is made of Vasista once having worshipped Tara Devi. Matsya-Sakta (maqam) states that Tara and Nila Sarasvati refer to the same Goddess. ‘Tard’ which is thus a very ancient name in Hindu Scriptures, is not a recent import as believed by some modern scholars.Introduction 5 Upasana. Tara-Mantras are therefore the seeds or indispensable particles of Tard-sidhana. The nature and forms (ze. @ratys and margs ) of the Mantras are accurately described. Briefly though lucidly are also stated the wonderful powers the Mantras possess, which they confer from time to time on the successful practisers, CHAPTER II Having spoken in the first Chapter of the Mantras and the spiritual powers they possess, this Chapter first points out how the Mantras are to be learnt whereby these powers may bé attained and utilised with gradual steps towards self-realisation, But, learning implies-in any case the necessity of an efficient teacher. For, no correct knowledge is possible, unless there is the assistance of a teacher who himself knows the subject thoroughly and accurately. Such a teacher in the realm of spiritual training is known by the name of Guru or the Spiritual Guide who, by his perfect knowledge of the art, not only imparts correct training in the surest possible way, but also awakens in the disciple a special spiritual force by dint of his advanced spiritual powers, But, as it is not always possible to ascertain who is such a Sat ( true and fit ) Guru, it is necessary for an intending disciple to have an idea about the marks or the qualifications generally found in a Sat Guru, whereby he may, more assuredly than usual, proceed upto a right person for the purpose. The text, therefore, turns upon the marks of a worthy Guru from whom the Mantras with the attending observances are to be learnt. This implies possession of divine powers, divine virtues, divine beauty ( 2aaq faaesia; ) and unqualified knowledge of everything, The Guru must be (1) edstagataw—kind towards all beings; (2) ‘iwtfae:—getting whatever he may command or desire ; ( 3 ) fawtast:—the knower of the past, present and the future; (4) sdavafearafirg—the knower of all Mantras by names and processes ; ( 5 ) edtrariawy:—the knower of6 INTRODUCTION the contents of all Agamas, must also be a Kaulika ( alfa: ) which means one whose conduct is determined by a firm belief in the five elements (earth, water, fire, air, space or Akaéa ), Nature and Jiva ( Being ) as being one with Paramatman. The Guru is thus far from being a mortal though he exists in a mortal frame. He is an epitome of excellences—the veritable channel between Heaven and Earth through which the Ultimate Good descends. Now, it is important to find out a true Guru ; itis equally important to find out a true disciple. For, everybody is not fit for every matter of training. A Mantra without a true disciple is likely to fall off useless like a seed sown in a barren plot or a plot overgrown with weeds. Hence comes ‘the necessity of ascertaining the primary virtues or characteristics of a person, which mark a true disciple showing his fitness for the initiation. Some of the virtues enumerated are :—an earnest desire for the Truth, unwavering faith in the Guru, simplicity, unquestioning obedience to the Guru, a desire to do good to all creatures, etc. All these are dealt with in their proper order and instructive verses are cited from different texts. Incidentally, the qualities in an unworthy Guru and the marks of an unworthy disciple are also enumerated throwing adequate light on the subject. This topic along with details of time, place and the processes of initiation covers as many as thirteen or fourteen subheads from the beginning of the Chapter. The rest of the Chapter is devoted to an eulogy of special places ( ¢. g., fazataa; ) bearing influence upon initiation and to giving directions for testing, selecting and purifying ( by argart: or worship of the presiding deities of the site ) the site for the erection of a Dikga-mandapa, Vastuyaga removes all obstacles, thus helping the speedy advent of the spiritual power. Definite instructions are laid down for the erection of the Mandapa and making Vedi, Mekhala and sacrificial holes ( Kunda ) of various types used in different rites. Much stressINTRODUCTION 7 is laid on the dimensional accuracy and description in each case is given in full detail, The last part of the Chapter describes a ceremony called Aakurarpana ( sgutuq ) which is an experimental rite for a forecast of the disciple’s future and if any evil indication is apparent, pacific rites are performed to avert the evil, CHAPTER III This Chapter deals with the matter of Diksa or initiation in its different aspects, The term Diksa in its entire extent means infusing the light of knowledge so as to dispel the darkness or veil of ignorance or vice. It is ‘the knowledge given’ ( ta saraq) and ‘the veil of vice removed’ ( Rad qrataway ). But in the ordinary sense Diksa means initiating a disciple with a Mantra or Mantras. The first part gives an idea of the various forms ( @haq- Wet: ) of Dikga and lays down the general rules for initiation. Next, it enters into details regarding varieties of ritualistic processes required at the time of initiation and for the gradual purification of the body of the disciple. Among these, the ‘Nitya-homa’ ( the practice of holding sacrificial fire every day) the ‘Dina-krtyam’ (daily rituals ) and the ‘Adhva-godhana’ (which means clearing the pathway i.e, a process of purification that will ultimately make the disciple one with Siva or Paramatman) ctc., are worth mentioning. Some- times when the occasion demands it, an elaborate course of ritualistic process becomes necessary before an intending disciple is deemed to have acquired primary efficiency for the initiation, Incidentally this is stated in this Chapter. Thus it appears that Diksa the full meaning of which is the removal of ignorance or vice, is treated somewhat differently for practical purposes. Like anything else, it has had its progressive stages of development, The8 InTRODUCTION primary initiation i.e, the Mantra or the Mantras given at the first stage, therefore does not make much difference in the person initiated. But it brings gradual changes in him and when the first Mantras are practised for some time and the expected development is reached, the Guru gives further Mantras and enjoins stricter ritual observances for greater spiritual developments of the disciple, and so on. The different forms of Diksa ( yates ) given by the texts, which have a bearing on this point are Kriyavati, Varnamayi, KaJavati and Vedhamayi. The first is for the ordinary disciple, the second is for parsons who are above the average rank. Kalavati is for disciples of a still higher competency and the Vedhamayi is for the highest class of aspirants, By the last kind, viz., Vedhavati, a disciple equals himself with the Guru or Siva which is the highest perfection. Besides the above four, the text mentions another ten kinds of initiation which come under the generic title of Anavi Diksa. It also dilates separately on what is known as Parnabhiseka or full initiation course, Mantra-sathskara i.e., a process which prescribes with some other rites a minimum number of repetitions of a Mantra before it can be expected to work appreciably on the mind of the disciple, and Ari- Mantra-tyaga which is a particular form of ceremony for discarding a hostile Mantra for the avoidance of any evil consequences, CHAPTER IV We find here due emphasis laid on the conduct and the personal feeling of the disciple towards the Guru. As in the spiritual region success depends entirely on regular operation of the Mantras and other rituals, it is indispensable that the disciple must have an implicit reverence for the Guru and pay undivided attention to whatever the spiritual preceptor may say or direct to do. Towards this end, not only shallINTRODUCTION 9 he carefully observe every bit of usual discipline In keeping with his natural filial piety, he must, as it is observed in the text, even try to think himself unseparated from the Guru. While meditating, he must think himself within the Guru and the Guru within himself, without which the full realisation is impossible. It may be noted in this connection that although the T4antrika sAdhana differs from all other systems in many respects, in the matter of Guru-bhakti it has retained its dignified position intact and yields to none, not even to the Vaignava system, the whole cult of which is based upon Bhakti. ‘The following couplet which represents the theme in a nutshell justifies the above ;— “qa aquafeg aa wrargfeay | ufaarg faarafe gata acai ade 1” He who regards the Guru as a man, the Mantras as letters, images of gods or goddesses as stones, goes to hell. 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