Worship Generally

There are four different forms of worship corresponding with four states (bhava). The realization that the jivatma and paramatma are one, that everything is Brahman, and that nothing but the Brahman exists, is the highest state, or brahma-bhava. Constant meditation by the yoga process upon the Devata in the heart is the lower and middlemost (dhyana-bhava) japa (q.v.) and stava (hymns and prayer) is still lower and the lowest of all is mere external worship (puja) (q.v.). Puja-bhava is that which arises out of the dualistic notions of worshipper and worshipped; the servant and the Lord. This dualism exists in greater or less degree in all the states except the highest. But for him who, having realized the advaita-tattva, knows that all is Brahman, there is neither worshipper nor worshipped, neither yoga nor puja, nor dharana, dhyana, stava, japa, vrata, or other ritual or process of sadhana.

In external worship there is worship either of an image (pratima), or of a yantra (q.v.), which takes its place. The sadhaka should first worship inwardly the mental image of the form assumed by the Devi, and then by the life-giving (prana-pratishtha) ceremony infuse the image with Her life by the communication to it of the light and energy (tejas) of the Brahman which is within him to the image without, from which there bursts the lustre of Her whose substance is consciousness itself (chaitanya-mayi). She exists as Shakti in stone or metal, or elsewhere, but is there veiled and seemingly inert. Chaitanya (consciousness) is aroused by the worshipper through the prana-pratishtha mantra.

Rites (karma) are of two kinds. Karma is either nitya nr naimittika. The first is both daily and obligatory, and is done because so ordained. Such as the sandhya (v. post), which in the case of Shudras is in the Tantrik form; and daily puja (v. post) of the Ishta- and Kula-Devata (v. post); and for Brahmamas the pancha-maha-yajna (v. post). The second or conditional karma is occasional and voluntary, and is kamya when done to gain some particular end, such as yajna for a particular object; tapas with the same end (for certain forms of tapas are also nitya); and vrata (v. post).

The Shudra is precluded from the performance of Vaidik rites, or the reading of the Vedas, or the recital of the Vaidik mantra. His worship is practically limited to that of the Ishta-Devata and the Bana-linga-puja, with Tantrik and Pauranik mantra and such vrata as consist in penance and charity. In other cases the vrata is performed through a Brahmana. The Tantra makes no caste distinctions as regards worship. All may read the Tantras, perform the Tantrik worship, such as the sandhya (v. post), and recite the Tantrik mantra, such as the Tantrik Gayatri. All castes, and even the lowest chandala, may be a member of a chakra, or Tantrik circle of worship. In the chakra all its members partake of food and drink together, and are deemed to be greater than Brahmanas; though upon the break-up of the chakras the ordinary caste and social relations are re-established. All are competent for the specially Tantrik worship, for, in the words of the Gautamiya Tantra, the Tantra Shastra is for all castes and for all women. The latter are also excluded under the present Vaidik system, though it is said by Shankha Dharma-shastra-kara that the wife may, with the consent of her husband, fast, take vows, perform homa and vrata, etc. According to the Tantra, a woman may not only receive mantra, but may, as a Guru, initiate and give it. She is worshipful as Guru, and as wife of Guru. The Devi is Herself Guru of all Shastras and woman, as, indeed, all females who are Her embodiments are, in a peculiar sense, Her earthly representatives.

Forms of Achara

There are seven, or, as some say, nine, divisions of worshippers. The extra divisions are bracketed in the following quotation. The Kularnava Tantra mentions seven, which are given in their order of superiority, the first being the lowest: Vedachara, Vaishnavachara, Shaivachara, Dakshinachara, Vamachara, Siddhantachara (Aghorachara, Yogachara), and Kaulachara, the highest of all. The achara is the way, custom, and practice of a particular class of sadhaka. They are not, as sometimes supposed, different sects, but stages through which the worshipper in this or other births has to pass before he reaches the supreme stage of the Kaula. Vedachara, which consists in the daily practice of the Vaidik rites, is the gross body (sthula-deha), which comprises within it all other acharas, which are, as it were, its subtle bodies (sukshma-deha) of various degrees. The worship is largely of an external and ritual character, the object of which is to strengthen dharma. This is the path of action (kriya-marga). In the second stage the worshipper passes from blind faith to an understanding of the supreme protecting energy of the Brahman, towards which he has feelings of devotion. This is the path of devotion (bhakti-marga), and the aim at this stage is the union of it and faith previously acquired. With an increasing determination to protect dharma and destroy a-dharma, the sadhaka passes into Shaivachara, the warrior (kshatriya) stage, wherein to love and mercy are added strenuous striving and the cultivation of power. There is union of faith, devotion (bhakti), and inward determination (antar-laksha). Entrance is made upon the path of knowledge (jnana-marga). Following this is Dakshinachara, which in Tantra does not mean "right-hand worship," but "favourable" – that is, that achara which is favourable to the accomplishment of the higher sadhana, and whereof the Devi is the Dakshina Kalika. This stage commences when the worshipper can make dhyana and dharana of the threefold shakti of the Brahman (kriya, ichchha, jñana), and understands the mutual connection (samanvaya) of the three guna until he receives purnabhisheka (q.v.). At this stage the sadhaka is Shakta, and qualified for the worship of the threefold shakti of Brahma, Vishnu, Maheshvara. He is fully initiated in the Gayatri-mantra, and worships the Devi Gayatri, the Dakshina Kalika, or Adya Shakti – the union of the three Shakti. This is the stage of individualistic Brahmana-tattva, and its aim is the union of faith, devotion, and determination, with a knowledge of the threefold energies. After this a change of great importance occurs, marking, as it does, the entry upon the path of return (nivritti). This it is which has led some to divide the achara into the two broad divisions of Dakshinachara (including the first four) and Vamachara (including the last three), it being said that men are born into Dakshinachara, but are received by initiation into Vamachara. The latter term does not mean, as is vulgarly supposed, "left-hand worship," but the worship in which woman (vama) enters that is lata-sadhana. In this achara there is also worship of the Vama Devi. Vija is here "adverse," in that the stage is adverse to pravritti, which governed in varying degrees the preceding achara, and entry is here made upon the path of nivritti, or return to the source whence the world sprung. Up to the fourth stage the sadhaka followed pravrittimarga, the outgoing path which led from the source, the path of worldly enjoyment, albeit curved by dharma. At first unconsciously, and later consciously, sadhana sought to induce nivrittt, which, however, can only fully appear after the exhaustion of the forces of the outward current. In Vamachara, however, the sadhaka commences to directly destroy pravritti, and with the help of the Guru (whose help throughout is in this necessary) to cultivate nivritti. The method at this stage is to use the force of pravritti in such a way as to render them self-destructive. The passions which bind may be so employed as to act as forces whereby the particular life of which they are the strongest manifestation is raised to the universal life. Passion, which has hitherto run downwards and outwards to waste, is directed inwards and upwards, and transformed to power. But it is not only the lower physical desires of eating, drinking, and sexual intercourse which must be subjugated. The sadhaka must at this stage commence to cut off all the eight bonds (pasha) which mark the pashu which the Kularnava Tantra enumerates as pity (daya), ignorance (moha), shame (lajja), family (kula), custom (shila), and caste (varna). When Shri Krishna stole the clothes of the bathing Gopi, and made them approach him naked, he removed the artificial coverings which are imposed on man in the sangsara. The Gopi were eight, as are the bonds (pasha), and the errors by which the jiva is misled are the clothes which Shri Krishna stole. Freed of these, the jiva is liberated from all bonds arising from his desires, family, and society. He then reaches the stage of Shiva (shivatva). It is the aim of Vamachara to liberate from the bonds which bind men to the sangsara, and to qualify the sadhaka for the highest grades of sadhana in which the sattvika guna predominates. To the truly sattvik there is neither attachment, fear, or disgust. That which has been commenced in these stages is by degrees completed in those which follow – viz.: Siddhantachara, and according to some, Aghorachara and Yogachara. The sadhaka becomes more and more freed from the darkness of the sangsara, and is attached to nothing, hates nothing, and is ashamed of nothing, having freed himself of the artificial bonds of family, caste, and society. The sadhaka becomes, like Shiva himself, a dweller in the cremation ground (smashana). He learns to reach the upper heights of sadhana and the mysteries of yoga. He learns the movements of the different vayu in the microcosm the Kshudra-brahmanda, the regulation of which controls the inclinations and propensities (vritti). He learns also the truth which concern the macrocosm (brahmanda). Here also the Guru teaches him the inner core of Vedachara. Initiation by yoga-diksha fully qualifies him for yogachara. On attainment of perfection in ashtanga-yoga, he is fit to enter the highest stage of Kaulachara.

Kaula-dharma is in no wise sectarian, but, on the contrary, is the heart of all sects. This is the true meaning of the phrase which, like many another touching the Tantra, is misunderstood, and used to fix the kaula with hypocrisy – antah-shaktah, vahih-shaivah sabhayang vaishnavahmatah nana – rupadharah kaulah vicharanti mahitale (outwardly Shaivas; in gatherings, Vaishnavas; at heart, Shaktas; under various forms the Kaulas wander on earth). A Kaula is one who has passed through these and other stages, which have as their own inmost doctrine (whether these worshippers know it or not) that of Kaulachara. It is indifferent what the Kaula’s apparent sect may be. The form is nothing and everything. It is nothing in the sense that it has no power to narrow the Kaula’s own inner life; it is everything in the sense that knowledge may infuse its apparent limitations with an universal meaning. So understood, form is never a bond. The Vishva-sara Tantra, says of the Kaula that "for him there is neither rule of time; nor place. His actions are unaffected either by the phases of the moon or the position of the stars. The Kaula roams the earth in differing forms. At times adhering to social rules (shishta), he at others appears, according to their standard, to be fallen (bhrashta). At times, again, he seems to be as unearthly as a ghost (bhuta or pishacha) To him no difference is there between mud and sandal paste, his son and an enemy, home and the cremation ground."

At this stage the sadhaka attains to Brahma-jnana, which is the true gnosis in its perfect form. On receiving mahapurna-daksha he performs his own funeral rites and is dead to the sangsara. Seated alone in some quiet place, he remains in constant samadhi, and attains its nir-vikalpa form. The Great Mother, the Supreme Prakriti Maha-shakti, dwells in the heart of the sadhaka, which is now the cremation ground wherein all passions have been burnt away. He becomes a Parama-hangsa, who is liberated whilst yet living (javan-mukta).

It must not, however, be supposed that each of these stages must necessarily be passed through by each jiva in a single life. On the contrary, they are ordinarily traversed in the course of a multitude of births. The weaving of the spiritual garment is recommenced where in a previous birth, it was dropped on death. In the present life a sadhaka may commence at any stage. If he is born into Kaulachara, and so is a Kaula in its fullest sense, it is because in previous births he has by sadhana, in the preliminary stages, won his entrance into it. Knowledge of Shakti is, as the Niruttara Tantra says, acquired after many births; and, according to the Mahanirvana Tantra, it is by merit acquired in previous births that the mind is inclined to Kaulachara.

Mantra

Shabda, or sound, which is of the Brahman, and as such the cause of the Brahmanda, is the manifestation of the Chit-shakti Itself. The Vishva-sara Tantra says that tha Para-brahman, as Shabda-brahman, whose substance is all mantra, exists in the body of the jivatma. It is either unlettered (dhvani) or lettered (varna). The former, which produces the latter, is the subtle aspect of the jiva’s vital shakti. As the Prapancha-sara states, the brahmanda is pervaded by shakti, consisting of dhvani, also called nada, prana, and the like. The manifestation of the gross form (sthula) of shabda is not possible unless shabda exists in a subtle (sukshma) form. Mantras are all aspects of the Brahman and manifestations of Kula-kundalini. Philosophically shabda is the guna of akasha, or ethereal space. It is not, however, produced by akasha, but manifests in it. Shabda is itself the Brahman. In the same way, however, 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 produced according to the movements of the vital air (prana-vayu) and the process of inhalation and exhalation. Shabda first appears at the muladhara, and that which is known to us as such is, in fact, the shakti which gives life to the jiva. She it is who, in the muladhara, is the cause of the sweet indistinct and murmuring dhvani, which sounds like the humming of a black bee.

The extremely subtle aspect of sound which first appears in the Muladhara is called para; less subtle when it has reached the heart, it is known as pashyanti. When connected with buddhi it becomes more gross, and is called madhyama. Lastly, in its fully gross form, it issues from the mouth as vaikhari. As Kula-Kundalini, whose substance is all varna and dhvani, is but the manifestation of, and Herself the Paramatma; so the substance of all mantra is chit, notwithstanding their external manifestation, as sound, letters, or words; in fact, the letters of the alphabet, which are known as akshara, are nothing but the yantra of the akshara, or imperishable Brahman. This, however, is only realized by the sadhaka when his shakti, generated by sadhana, is united with the mantra-shakti.

It is the sthula or gross form of Kulakundalini, appearing in different aspects as different Devata, which is the presiding Devata (adhishthatri) of all mantra, though it is the subtle or sukshma form at which all sadhakas aim. When the mantrashakti is awakened by sadhana the Presiding Devata appears, and when perfect mantra-siddhi is acquired, the Devata, who is sachchidananda, is revealed. The relations of varna, nada, vindu, vowel and consonant 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. Any word or letter of the mantra cannot be a mantra. Only that mantra in which the playful Devata has revealed any of Her particular aspects can reveal that aspect, and is therefore called the individual mantra of that one of Her particular aspects. The form of a particular Devata, therefore, appears out of the particular mantra of which that Devata is the adhishthatri Devata.

A mantra is composed of certain letters arranged in definite sequence of sounds of which the letters are the representative signs. To produce the designed effect mantra must be intoned in the proper way, according to svara (rhythm), and varna (sound). Their textual source is to be found in Veda, Purana, and Tantra. The latter is essentially the mantra-shastra, and so it is said of the embodied shastra, that Tantra, which consists of mantra, is the paramatma, the Vedas are the jivatma, Darshana (systems of philosophy) are the senses, Puranas are the body, and Smriti are the limbs. Tantra is thus the shakti of consciousness, consisting of mantra. A mantra is not the same thing as prayer or self-dedication (atma-nivedana). Prayer is conveyed in what words the worshipper chooses, and bears its meaning on its face. It is only ignorance of shastrik 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.

A mantra may, or may not, convey on its face its meaning. Vija (seed) mantra, such as Aing, Kling, Hring, have no meaning, according to the ordinary use of language. The initiate, however, knows that their meaning is the own form (sva-rupa) of the particular Devata, whose mantra they are, and that they are the dhvani which makes all letters sound and which exists in all which we say or hear. Every mantra is, then, a form (rupa) of the Brahman. Though, therefore, manifesting in the form and sound of the letters of the alphabet, Shastra says that they go to Hell who think that the Guru is but a stone, and the mantra but letters of the alphabet.

From manana, or thinking, arises the real understanding of the monistic truth, that the substance of the Brahman and the brahmanda are one and the same. Man- of mantra comes from the first syllable of manana, and -tra from trana, or liberation from the bondage of the sangsara or phenomenal world. By the combination of man- and -tra, that is called mantra which calls forth (amantrana), the chatur-varga (vide post), or four aims of sentient being. Whilst, therefore, mere prayer often ends in nothing but physical sound, mantra is a potent compelling force, a word of power (the fruit of which is mantra-siddhi), and is thus effective to produce the chatur-varga, advaitic perception, and mukti. Thus it is said that siddhi is the certain result of japa (q.v.). By Mantra the sought for (sadhya) Devata, is attained and compelled. By siddhi in mantra is opened the vision of the three worlds. Though the purpose of worship (puja), reading (patha), hymn (stava), sacrifice (homa), dhyana, dharana, and samadhi (vide post), and that of the diksha-mantra are the same, yet the latter is far more powerful, and this for the reason that, in the first, the sadhaka’s sadhana-shakti only operates, whilst in the case of mantra that sadhana-shakti works, in conjunction with mantra-shakti, which has the revelation and force of fire, and than which nothing is more powerful. The special mantra which is received at initiation (diksha) is the vija, or seed mantra, sown in the field of the sadhaka’s heart, and the Tantrik sandhya, nyasa, puja, and the like are the stem and branches upon which hymns of praise (stuti) and prayer and homage (vandana) are the leaves and flower, and the kavacha, consisting of mantra, the fruit.

Mantra are solar (saura) and lunar (saumya), and are masculine, feminine, or neuter. The solar are masculine and lunar feminine. The masculine and neuter forms are called mantra. The feminine mantra is known as vidya. The neuter mantra, such as the Pauranik-mantra, ending with namah, are said to lack the force and vitality of the others. The masculine and feminine mantra end differently. Thus, Hung, Phat, are masculine terminations, and "thang," or svaha, are feminine ones.

The Nitya Tantra gives various names to mantra. according to the number of their syllables, a one-syllabled mantra being called pinda, a three-syllabled one kartari, a mantra with four to nine syllables vija, with ten to twenty syllables mantra, and mantra with more than twenty syllables mala. Commonly, however, the term vija is applied to monosyllabic mantra. The Tantrik mantras called vija (seed) are so named because they are the seed of the fruit, which is siddhi, and because they are the very quintessence of mantra. They are short, unetymological vocables, such as Hring, Shring, Kring, Hung, Aing, Phat, etc., which will be found throughout the text. Each Devata has His or Her vija. The primary mantra of a Devata is known as the root mantra (mula-mantra). It is also said that the word mula denotes the subtle body of the Devata called Kama-kala. The utterance of a mantra without knowledge of its meaning or of the mantra method is a mere movement of the lips and nothing more. The mantra sleeps. There are various processes preliminary to, and involved in, its right utterance, which processes again consist of mantra, such as, purification of the mouth (mukha-shodhana), purification of the tongue (jihva-shodhana), and of the mantra (ashaucha-bhanga), kulluka, nirvvana, setu, nidra-bhanga, awakening of mantra, mantra-chaitanya, or giving of life or vitality to the mantra. Mantrarthabhavana, forming of mental image of the Divinity. There are also ten sangskara of the mantra. Dipani is seven japa of the vija, preceded and followed by one. Where hring is employed instead of Ong it is prana-yoga. Yoni-mudra is meditation on the Guru in the head and on the Ishta-devata in the heart, and then on the Yoni-rupa Bhagavati from the head to the muladhara, and from the muladhara to the head, making japa of the yoni vija (eng) ten times. The mantra itself is Devata. The worshipper awakens and vitalizes it by chit-shakti, putting away all thought of the letter, piercing the six Chakra, and contemplating the Spotless One. The shakti of the mantra is the vachaka-shakti, or the means by which the vachya-shakti or object of the mantra is attained. The mantra lives by the energy of the former. The saguna-shanti is awakened by sadhana and worshipped, and She it is who opens the portals whereby the vachya-shakti is reached. Thus the Mother in Her saguna form is the presiding deity (adhishthatri Devata) of the Gayatri-mantra. As the nirguna (formless) One, She is its vachya-shakti. Both are in reality one and the same; but the jiva, by the laws of his nature and its three guna, must first meditate on the gross (sthula) form before he can realize the subtle (sukshma) form, which is his liberator.

The mantra of a Devata is the Devata. The rhythmical vibrations of its sounds not merely regulate the unsteady vibrations of the sheaths of the worshipper, thus transforming him, but from it arises the form of the Devata, which it is. Mantra-siddhi is the ability to make a mantra efficacious and to gather its fruit in which case the mantra is called mantra-siddha. Mantra are classified as siddha, sadhya, susiddha, and ari, according as they are friends, servers, supporters, or destroyers – a matter which is determined for each sadhaka by means of chakra calculations.

The Gayatri Mantra

The Gayatri is the most sacred of all Vaidik mantras. In it the Veda lies embodied as in its seed. It runs: Ong bhur bhuvah svah: tat savitur varenyam bhargo devasya dhimahi: dhiyo yo nah prachodayat. Om. "Ong. Let us contemplate the wondrous spirit of the Divine Creator (Savitri) of the earthly, atmospheric, and celestial spheres. May He direct our minds (that is, ‘towards’ the attainment of dharmma., artha, kama, and moksha), Om."

The Gayatrt-Vyakarana of Yogi Yajnavalkya thus explains the following words: Tat, that. The word yat (which) is understood. Savituh is the possessive case of Savitri, derived from the root su, "to bring forth." Savitri is, therefore, the Bringer-forth of all that exists. The Sun (Suryya) is the cause of all that exists, and of the state in which they exist. Bringing forth and creating all things, it is called Savitri. The Bhavishya Purana says Suryya is the visible Devata. He is the Eye of the world and the Maker of the day. There is no other Devata eternal like unto Him. This universe has emanated from, and will be again absorbed into, Him. Time is of and in Him. The planets, sta.rs, the Vasus. Rudras, Vayu, Agni, and the rest are but parts of Him. By Bhargah is meant the Aditya-devata, dwelling in the region of the Sun (suryya-mandala) in all His might and glory. He is to the Sun what our spirit (atma) is to our body. Though He is in the region of the sun in the outer or material sphere He also dwells in our inner selves. He is the light of the light in the solar circle, and is the light of the lives of all beings. As He is in the outer ether, so also is He in the ethereal region of the heart. In the outer ether He is Suryya, and in the inner ether He is the wonderful Light which is the Smokeless Fire. In short, that Being whom the sadhaka realizes in the region of his heart is the Aditya in the heavenly firmament. The two are one. The word is derived in two ways: (1) from the root bhrij, "to ripen, mature, destroy, reveal, shine." In this derivation Suryya is He who matures and transforms all things. He Himself shines and reveals all things by His light. And it is He who at the final Dissolution (pralaya) will in His image of destructive Fire (kalagni) destroy all things. (2) From bha = dividing all things into different classes; ra = colour; for He produces the colour of all created objects; ga, constantly going and returning. The sun divides all things, produces the different colours of all things, and is constantly going and returning. As the Brahmana-sarvasva says: "The Bhargah is the Atma of all that exists, whether moving or motionless, in the three loka (Bhur bhuvah svah). There is nothing which exists apart from it."

Devasya is the genitive of Deva, agreeing with Savituh. Deva is the radiant and playful (lilamaya) one. Suryya is in constant play with creation (srishti), existence (sthiti), and destruction (pralaya), and by His radiance pleases all. (Lila, as applied to the Brahman, is the equivalent of maya.) Varenyam = varaniya, or adorable. He should be meditated upon and adored that we may be relieved of the misery of birth and death. Those who fear rebirth, who desire freedom from death and liberation and who strive to escape the three kinds of pain (tapa-traya), which are adhyatmika, adhidaivika, and adhibhautika, meditate upon and adore the Bharga, who, dwelling in the region of the Sun, is Himself the three regions called Bhur-loka, Bhuvar-loka, and Svar-loka. Dhimahi = dhya-yema, from the root dhyai. We meditate upon, or let us meditate upon.

Prachodayat = may He direct. The Gayatri does not so expressly state, but it is understood that such direction is along the chatur-varga, or four-fold path, which is dharmma, artha, kama, and moksha (piety, wealth, desire and its fulfilment, and liberation, vide post). The Bhargah is ever directing our inner faculties (buddhi-vritti) along these paths.

The above is the Vaidika Gayatri, which, according to the Vaidik system, none but the twice-born may utter. To the Shudra whether man or woman, and to women of all other castes it is forbidden. The Tantra, which has Gayatri-Mantra of its own, shows no such exclusiveness; Chapter III., verses 109-111, gives the Brahma-gayatri for worshippers of the Brahman: "Parameshva-raya vidmahe para-tattvaya dhimahi: tan no Brahma prachodayat "(May we know the supreme Lord. Let us contemplate the Supreme essence. And may that Brahman direct us).

Yantra

This word in its most general sense means an instrument, or that by which anything is accomplished. In worship it is that by which the mind is fixed on its object. The Yogini Tantra says that the Devi should be worshipped either in pratima (image), mandala, or yantra. At a certain stage of spiritual progress the sadhaka is qualified to worship yantra. The siddha-yogi in inward worship (antar-puja) commences with the worship of yantra, which is the sign (sangketa) of brahma-vijnana as the mantra is the sangketa of the Devata. It is also said that yantra is so called because it subdues (niyantrana) lust, anger, and the other sins of jiva and the sufferings caused thereby.

This yantra is a diagram engraved or drawn on metal, paper, or other substances, which is worshipped in the same manner as an image (pratima). As different mantra are prescribed for different worships, so are different yantra. The yantras are therefore of various designs, according to the object of worship. The cover of this work shows a silver Gayatri yantra belonging to the author. In the centre triangle are engraved in the middle the words, Shri Shri Gayatri sva-prasada siddhing kuru ("Shri Shri Gayatri Devi: grant me success"), and at each inner corner there are the vija Hring and Hrah. In the spaces formed by the intersections of the outer ovoid circles is the vija "Hring." The outside circular band contains the vija "Tha" which indicates "Svaha," commonly employed to terminate the feminine mantra or vidya. The eight lotus petals which spring from the band are inscribed with the vija, "Hring, Ing, Hrah." The outermost band contains all the matrika, or letters of the alphabet, from ankara to laksha. The whole is enclosed in the way common to all yantra by a bhupura, by which, as it were, the yantra is enclosed from the outer world. The yantra when inscribed with mantra, serves (so far as these are concerned) the purpose of a mnemonic chart of the mantra appropriate to the particular Devata whose presence is to be invoked into the yantra. Certain preliminaries precede, as in the case of a pratima, the worship of a yantra. The worshipper first meditates upon the Devata, and then arouses Him or Her in himself. He then communicates the divine presence thus aroused to the yantra. When the Devata has by the appropriate mantra been invoked into the yantra, the vital airs (prana) of the Devata are infused therein by the prana-pratishtha ceremony, mantra, and mudra. The Devata is thereby installed in the yantra, which is no longer mere gross matter veiling the spirit which has been always there, but instinct with its aroused presence, which the sadhaka first welcomes and then worships. Mantra in itself is Devata, and yantra is mantra in that it is the body of the Devata who is mantra.

Mudra

The term mudrais derived from the root mud, "to please," and in its upasana form is so called because it gives pleasure to the Devas. Devanang moda-da mudra tasmat tang yatnatashcharet. It is said that there are 108, of which 55 are commonly used. The term means ritual gestures made with the hands in worship or positions of the body in yoga practice. Thus of the first class the matsya – (fish) mudra is formed in offering arghya by placing the right hand on the back of the left and extending, fin-like, on each side the two thumbs, with the object that the conch which contains water may be regarded as an ocean with aquatic animals; and the yoni-mudra which presents that organ as a triangle formed by the thumbs, the two first fingers, and the two little fingers is shown with the object of invoking the Devi to come and take Her place before the worshipper, the yoni being considered to be Her pitha or yantra. The upasana mudra is thus nothing but the outward expression of inner resolve which it at the same time intensifies. Mudra are employed in worship (archchana) japa, dhyana (q.v.), kamya-karma (rites done to effect particular objects), pratishtha (q.v.), snana (bathing), avahana (welcoming), naivedya (offering of food), and visarjana, or dismissal of the Devata. Some mudra of hatha yoga are described sub voc. "Yoga." The Gheranda Sanghita says that knowledge of the yoga mudras grants all siddhi, and that their performance produces physical benefits such as stability, firmness and cure of disease.

Sandhya

The Vaidika sandhya is the rite performed by the twice-born castes thrice a day, at morning, midday, and evening. The morning sandhya is preceded by the following acts. On awakening, a mantra is said in invocation of the Tri-murtti and the sun, moon, and planets, and salutation is made to the Guru. The Hindu dvi-ja then recites the miantra: "I am a Deva. I am indeed the sorrowless Brahman. By nature I am eternally free, and in the form of existence, intelligence, and Bliss." He then offers the actions of the day to the Deity, confesses his inherent frailty, and prays that he may do right. Then, leaving his bed and touching the earth with his right foot, the dvi-ja says, "Om, 0 Earth! salutation to Thee, the Guru of all that is good." After attending to natural calls, the twice-born does achamana (sipping of water) with mantra, cleanses his teeth, and takes his early morning bath to the accompaniment of mantra. He then puts on his caste-mark (tilaka) and makes tarpanam, or oblation of water, to the Deva, Rishi, and Pitri. The sandhya follows, which consists of achamana (sipping of water), marjjana-snanam (sprinkling of the whole body with water taken with the hand or kasha-grass), pranayama (regulation of prana through its manifestation in breath), agha-marshana (expulsion of the person of sin from the body; the prayer to the sun, and then (the canon of the sandhya) the silent recitation (japa) of the Gayatn mantra, which consists of invocation (avahana) of the Gayatri-Devi; rishi-nyasa and shadanga-nyasa (vide post), meditation on the Devi-Gayatri in the morning as Brahmani; at midday as Vaishnavi; and in the evening as Rudrani; japa of the Gayatri a specified number of times; dismissal (visarjana) of the Devi, followed by other mantra.

Besides the Brahmanical Vaidiki-sandhya from which the Shudras are debarred, there is the Tantriki-sandhya, which may be performed by all. The general outline is similar; the rite is simpler; the mantra vary; and the Tantrika-vijas or "seed" mantras are employed.

Puja

This word is the common term for worship of which there are numerous synonyms in the Sanskrit language. Puja is done daily of the Ishta-devata or the particular Deity worshipped by the sadhaka – the Devi in the case of a Shakti, Vishnu in the case of a Vaishnava, and so forth. But though the Ishta-devata is the principal object of worship, yet in puju all worship the Pancha-devata, or the Five Deva – Aditya (the Sun), Ganesha, the Devi, Shiva, and Vishnu, or Narayana. After worship of the Pancha-devata, the family Deity (Kula-devata), who is generally the same as the Ishta-devata, is worshipped. Puja, which is kamya, or done to gain a particular end as also vrata, are preceded by the sangkalpa; that is, a statement of the resolution to do the worship, as also of the particular object, if any, with which it is done.

There are sixteen upachara, or things done or used in puja: (1) asana (seat of the image); (2) svagata (welcome); (3) padya (water for washing the feet); (4) arghya (offering of unboiled rice, flowers, sandal paste, durva grass, etc., to the Devata in the kushi) (vessel); (5 and 6) achamana (water for sipping, which is offered twice); (7) madhuparka (honey, ghee, milk, and curd offered in a silver or brass vessel); ( snana (water for bathing); (9) vasana (cloth); (10) abharana (jewels); (11) gandha (scent and sandal paste is given); (12) pushpa (flowers); (13) dhupa (incense stick); (14) dipa (light); (15) naivedya (food); (16) vandana or namas-kara (prayer). Other articles are used which vary with the puja, such as Tulasi leaf in the Vishnu-puju and bael-(bilva) leaf in the Shiva-puja. The mantras said also vary according to the worship. The seat (asana) of the worshipper is purified. Salutation being made to the Shakti of support or the sustaining force (adhara-shakti); the water, flowers, etc., are purified. All obstructive spirits are driven away (Bhutapasarpana), and the ten quarters are fenced from their attack by striking the earth three times with the left foot, uttering the Astra vija "phat," and by snapping the fingers (twice) round the head. Pranayama (regulation of breath) is performed and (vide post) the elements of the body are purified (bhuta-shuddhi). There is nyasa (vide post); dhyana (meditation) offering of the upachara; japa (vide post), prayer and obeisance (pranama). In the ashta-murti-puja of Shiva the Deva is worshipped under the eight forms: Sharvva (Earth), Bhava (Water), Rudra (Fire), Ugra (Air), Bhima (Ether), Pashupati (yajamana – the Sacrificer man), Ishana (Sun), Mahadeva (Moon).

Yajna

This word, which comes from the root yaj (to worship), is commonly translated "sacrifice." The Sanskrit word is, however, retained in the translation, since Yajna means other things also than those which come within the meaning of the word "sacrifice," as understood by an English reader. Thus the "five great sacrifices" (pancha-maha-yajna) which should be performed daily by the Brahmana are: The homa sacrifice, including Vaishva-deva offering, "bhuta-yajna or vali, in which offerings are made to Deva, Bhuta, and other Spirits and to animals; pitri-yajna or tarpana, oblations to the pitri; Brahma-yajna, or study of the Vedas and Manushyayajna, or entertainment of guests (atithisaparyya). By these five yajna the worshipper places himself in right relations with all being, affirming such relation between Deva, Pitri, Spirits, men, the organic creation, and himself.

Homa, or Deva-yajna, is the making of offerings to Fire. which is the carrier thereof to the Deva. A firepit (kunda) is prepared and fire when brought from the house of a Brahmana is consecrated with mantra. The fire is made conscious with the mantra – Vang vahni-chaitanyaya namah, and then saluted and named. Meditation is then made on the three nadis (vide ante) – Ida, Pingala, and Sushumna – and on Agni, the Lord of Fire. Offerings are made to the Ishta-devata in the fire. After the puja of fire, salutation is given as in Shadanga-nyasa, and then clarified butter (ghee) is poured with a wooden spoon into the fire with mantra, commencing with Om and ending with Svaha. Homa is of various kinds, several of which are referred to in the text, and is performed either daily, as in the case of the ordinary nitya-vaishva-deva-homa, or on special occasions, such as the upanayana or sacred thread ceremony, marriage, vrata, and the like. It is of various kinds, such as prayashchitta-homa, srishtikrit-homa, janu homa, dhara-homa, and others, some of which will be found in the text.

Besides the yajna mentioned there are others. Manu speaks of four kinds: deva, bhauta (where articles and ingredients are employed, as in the case of homa, daiva, vali), nriyajna, and pitri-yajna. Others are spoken of, such as japa-yajna, dhyana-yajna, etc. Yajna are also classified according to the dispositions and intentions of the worshipper into sattvika, rajasika, and tamasika yajna.

Vrata

Vrata is a part of Naimittika, or voluntary karma. It is that which is the cause of virtue (punya), and is done to achieve its fruit. Vrata are of various kinds. Some of the chief are Janmashtami on Krishna’s birthday; Shiva-ratri in honour of Shiva; and the Shat-panchami, Durvashtami, Tala-navami. Ananta-chaturdashi performed at specified times in honour of Lakshmi, Narayana, and Ananta. Others may be performed at any time, such as the Savitri vrata by women only, and the Karttikeya-puja by men only. The great vrata is the celebrated Durga-puja, maha-vrata in honour of the Devi as Durga, which will continue as long as the sun and moon endure, and which, if once commenced, must always be continued. There are numerous other vrata which have developed to a great extent in Bengal, and for which there is no Shastric authority such as Madhu-sankranti-vrata, Jala-sankranti-vrata, and others. While each vrata has its peculiarities, certain features are common to vrata of differing kinds. There is both in preparation and performance sangyama, such as sexual continence, eating of particular food, such as havishyanna, fasting, bathing. No flesh or fish are taken. The mind is concentrated to its purposes, and the vow or resolution (niyama) is taken. Before the vrata the Sun, Planets, and Kula-devata are worshipped, and by the "suryahsomoyamahkala" mantra all Deva and Beings are invoked to the side of the worshipper. In the vaidika vrata the sangkalpa is made in the morning, and the vrata is done before midday.