Nivasatu Hridi Bala Nitya Kalyana Seela (Bala Meditation guide)
Srividya uapasana is found everywhere throughout the world. People want everlasting happiness in life. They try many ways and finally land on the spiritual methods. Initially they find the Vedas and daily practices, further they read and try to understand through Vedanta’s- the Upanishads. These methods are intellectual with no sight of the real experience. So they search for a Guru and surrender to him. He instructs them on the time-tested, sure to bear fruit method, called the Srividya. The experience of the nature of the entire universe as a play of the Siva and sakthi and that every thing is in the form of Siva and sakthi is the goal of Srividya. This leads to an unlimited experience of bliss. In this path of Srividya there are many steps like Japa, Pooja, homa, dhayna, Samadhi. Of these Japa is the foremost and the first step instructed to an aspirant. The mantras of Ganapathy and Bala along with guru paduka are the first set of mantras initiated to the aspirant by the Guru.
Many Tantras are unified in declaring that the mantra of Bala is of three letters. (Aim kliim sauh). The eighteen siddas of the yore also practised the Bala mantra in their own way by chanting ‘ayum kiliyum chauum’ and attained the eight siddhis. Their practical verbatim in Tamil language runs ‘there is no more nourishing food other that milk; there is no more deity above Bala’. The sages of the yore on finding that this mantra being utmost beneficial and easily approached by all for the siddhi cast a curse on it and locked away the powers of this mantra. They have also revealed procedures for lifting this curse and unlocking the powers hidden in this mantra, which are revealed in the Tantras.
By tradition the Bala mantra is initiated as a six letters. This is derived by adding the reverse order of the above three letters in the end of the aforesaid mantra (Aim kliim sauh sauh kliim aim). This mantra is devoid of any curse of lock on the powers. Later when the uapasana progresses the Srividya Pancadasi mantra is imparted to the aspirant. Then this Bala mantra takes the form of the Yoga Bala mantra – the Anga mantra (primary attendant) of the pancadasi mantra. There the mantra has a nine letter form which is derived by adding the three letters of the first said Bala, which is in the normal order, after the above six letter mantra.( (Aim kliim sauh sauh kliim aim Aim kliim sauh )This
mantra is not chanted as such by most of Upasakas, the number to be chanted is one-tenth of the Srividya pancadasi mantra’s count.
Bala and Katapayadi number secret code:
The katapayadi secret code is as follows: ka denotes the number one, kha two, ga three, gha four, Gna five, ca six, cha seven, ja eight, jha nine and ghna zero, the same number order for the letters from ta, pa and ya. In this order we find that ‘ba’ is three and ‘la’ is also three.
The first inference from this that is the code identifies the number of bijaskharas in the Bala mantra namely three. Since there are two three’s for ‘ba’ and ‘la’ , adding these we find number of bijaskhra’s in the Bala mantra(six) imparted by tradition. Multiplying them we find the number of bijaskhara’s (nine) in the anga Bala (Yoga Bala) of Pancadasi.
Subtracting them we find zero, which in Sanskrit is denoted as ‘pujya’, which can also be translated as ‘worthy of worship’. Hence inferred that ‘Bala’ is worthy of worship. Dividing them we get one, which denotes ‘ekam sat viprah bahuta vadanti’ -the Brahman which pervades this entire universe.
Bala is in the form of ganesa/graha/nakshatra /yogini/ pita/ rasi
Placing both the three’s side by side we get thirty three, the number of divine beings in the devaloka, The eleven rudras, twelve adityas, eight vasu and asvini duo make up the divine pantheon ( 11+12+8+2=33). Each of these groups is also denoted as gana. We thus find the ‘Bala’ is ganesa rupini.
As seen in the first paragraph multiplying both three’s we find nine, the number of planets in the skies as per tradition, Hence ‘Bala’ is graha rupini
In the above calculation multiplying three thrice we find twenty seven the number of stars (nakshatras), so ‘Bala’ is nakshatra rupini
Adding the two threes’ we find six the number of yogini’s (hakini etc.) in the six body cakras, therefore ‘Bala’ is yogini rupini
When we multiply the first two three’s and add the third three ({3X3} +3 =12) we find twelve the number of rasi’s (zodiac signs), so ‘Bala’ is rasi rupini.
The number three denotes the main three pitas (seats of divine powers) kamagiri, purnagiri and jalandhara. Hence ‘Bala’ is pita rupini.
The essence of the above is that Bala is all pervasive and our constant japa with full belief on our guru imparted mantra is the sure road to the goal of self realisation.
Bala is matruka :
In the daily ritual of nyasa, the barest minimum requirement is matruka nyasa- both outer (bahir) and inner (antar). In the antar matruka nyasa for svadhitana we find the ‘Ba’ in the starting letter, and ‘la’ is the final letter. Hence it is clear that the word ‘Bala’ is formed from the first and last letters of this charka. Thus we infer that Bala is the presiding deity of this charka. Sva + adhistana- one’s own + abode (original seat) is the translation of the name of the charka. We can now admire that Sri Bala also takes the form of the yogini of this charka –kakini. This is the first place of entry of the cit sakthi -kundalini from her basal abode muladhara. The Upastha (genitals) –organ for enjoyment is associated with is charka. Summing up we find that Bala is the foremost, Blissful, Primordial energy, Sri Lalitha in her child hood form.
In the fifteen nitya devis we find the mantra of vijaya, the twelfth nitya, as ‘bh m r y oom’. It is amazing to see that the consonants in this mantra are between ‘ba’ and ‘la’ and ‘oom’ is placed in the left ear, which is indicative of sakthi pradhanya(left) and tradition(ear-karnaat karnopadesena sampraptam avaneetalam’). Parasurama also gives this as the first mantra during deeksha, ‘vijaya’ means ‘vi’-special and ‘jaya’- victory, the special victory is the atma labha(jaya). So this mantra can be meditated as an expansion of ‘bala’.
In the bahir (outer) matruka nyasa ‘Ba’ is placed in the stomach and ‘la’ in the back of neck. Stomach is the organ for digesting the food received, thus absorbing the nutrients needed for the body and rejecting the unwanted. This indicates that we have to imbibe the main idea that the whole world is in the form of the divine couple, rejecting the idea of dualism. The back of neck is the medical part called ‘Medulla oblongata’, the controller of our involuntary movements like breathing, heart beat, etc. This is the main area of the control in the living system. Linking the above we find the perception that the whole world is the play of the divine couple should be our daily breath.
In the tatva parayana each tatva is associated with a matrukakshra. ‘a’ for siva, ‘ka’ for sakthi, ‘kha’ for sadasiva etc up to ‘ksha’ for prthvi. The vowels ‘aa’ to ‘ah’ are explaining the splendour of siva tatva. ‘aa’ is Ananda sakthi ‘i’ is ichha sakthi, ‘I’ is Ikshana etc. ( see
paratrisikha for further details) In this order we find ‘ba’ is pada tatva, ‘la’ is rupa tatva and the vowel in both ‘aa’ is Ananda. ‘Pada’ is the organ for locomotion and hence is figurative of a path. Summing up we find the path to the Ananda rupa of Atma is ‘Bala’. As seen above both ‘ba’ and ‘la’ are the third of the tatvas, correspondingly the third of dasamahavidya is sodasi or Srividya so she is the root of this maha mantra. The third mahabhuta also is agni. Since Tripurabhairavi of the Dasamahavidyas is fiery and denotes tapas, we can admire that the bala mantra forms the basis of the Tripurabhairavi and her expansion as tripura sundari (sodai) of the Dasamahavidyas.
The meaning of Bala mantra:
The meaning of Bala mantra has been explained in many ways by our revered teachers. The first Vagbhava Bija is a vowel ‘Aim’- which can be split up as ‘a’ + ‘i’ + ‘a’ + ‘m’. The first ‘a’ represents the Rig-Veda starting with ‘agni miide..’ and its essence in the mahavvakya ‘pragynanam Brahma’ ; ‘i’ the yajur veda starting with ‘ishetvorje..’ and its essence in the mahavakya ‘aham brahmaasmi’;
‘a’ the sama veda starting with ‘ agna aayaahi..’ and its essence the mahavakya ‘ tatvamasi’ and ‘m’ the atharva veda starting with ‘sanno devi..’(Sam + Na :) and its essence the mahavakya ‘ayamaatmaa Brahma’. Thus this indicates first stage of the aspirant, in search of the unlimited bliss, which is the surrender to a guru, imparting the mahavakyas and showing a path for sadhana.
The second Kamaraja Bija is ‘kliim’ can be split as ‘k’+ ‘l’ + ‘iim’. ‘k’ indicates sakthi tatva, ‘la’ the prthvi (earth) tatva . Since siva tava is inherent in sakthi tatva we find that this represents the complete 36 tatvas. ‘iim’ is the kamakala tatva the cause of the whole creation by heavy penance. This is the further development of sadhana as indicated by a Pooja paddhati instructed by the Sri Guru. 36 tatvas indicate the tatva sodhana , the kamakala indicate the kamakala dhayna in the Pooja paddhati.
The final Bija is ‘sauh’ which can be split as‘s’+ ‘au’ + ‘h’. ‘s’ represents the thirty one tatvas from prthvi to maya; ‘au’ the suddha Vidya, isvara and sadasiva ; ‘h’ the visarga the sakthi and siva tatvas. Thus this is a miniature universe of all the 36 tatvas. ‘s’ is the letter for sakthi, the universal creatrix, ‘h’ the visarga the created universe and ‘au’ the equalising factor which shows their singular identity ( between the Creatrix and the
universe). This final bija can be inferred as the zenith of sadhana wherein on constant practice as instructed by the Sri Guru the aspirant enjoys unlimited bliss on understanding the this universe is the play of siva sakthi.
Bala in LalithOpakhyana:
LalithOpakhyana is the final part of the last of the eighteen purana – the Brahmanda purana. Therein we find a descriptive narrative of the tale of Sri Lalitha devi-Bhandasura’s origin, his conquest, devas yaga, the emergence of Sri Lalitha from the citagni kunda, creation of her army, destruction of the forces and of Bhandasura, creation of Srinagra etc. In the middle we find that Bhandasura deputes his 30 sons to fight the sakthi army. Here we find Sri Bala suddenly, out of the blue, her emergence is hidden. She requests permission to fight the son’s of Bhandasura, rides her chariot drawn by swans (karni ratha) and slays them by the Narayanastra. This is praised by the vasini vagdevatas in the Lalitha sahasranama as ‘Bhanda putra vadothyuktha Bala vikrama nanadita’. The thirty sons of Bhandasura represent the stain caused by the activities of the five organs for knowledge and the five organs for action (total ten) in the three states (waking, sleep and deep sleep). The stain is the limited knowledge that the individual is separate. Bala represents the action packed knowledge of the unlimited Bliss removing the notion of individual consciousness.
Bala meditation guide:
The usual mediation verse ‘Aruna kirana jalaih..’ is imparted to the most aspirants. Sri Bala is described as of red effulgence engulfing the universe, holding a book, rosary (made of sapthika) , the gestures of dispelling fear and granting boons, seated on the red lotus with a prayer to occupy the aspirant’s heart.
While doing japa aspirant is instructed to meditate on the form while chanting the bijas. A method is suggested herewith, by the grace of the Sri Guru, on this procedure.
Initially while chanting ‘Aim’ meditate on the upper hand holding the rosary and book of white hue. ‘Kliim’ can be meditated as the lower arms showing the gestures of dispelling fear and granting boons of red hue. ‘Sauh’ can be meditated on the total form of the devi especially the feet of golden hue. This is the procedure for the upasaskas of the three bija Bala mantra.
The six bija Bala mantra upasakas can further meditate thus. While repeating ‘Sauh’ meditate on the feet and that the individual merges in it by the grace of the Sri Guru. While repeating ‘Kliim’ (in the meaning of the mantra above ‘kliim’ is the universe) meditate as pervading the universe, which is the body of the devi. Finally while repeating ‘Aim’ (‘Aim’ is written as a triangular letter in Sanskrit- triangle represents the yoni - the source of creation – the para siva tatva) meditate as being absorbed in the source of creation which is the parasiva tatva. Thus a dhayna Samadhi can be experienced by the aspirants chanting the six bija Bala mantra.
Further dhayna can be done by the nine bija Bala upasakas as thus: While repeating ‘Aim’ meditate on the creation of the universe from above the parasiva tatva , ‘kliim’ can be mediated as the creation of this subtle and palpable universe and finally ‘sauh’ can be meditated as play of the siva sakthi in the above expanded universe.
This is dedicated to the lotus feet of the Sri Guru who is the unseen guiding spirit in the road of Sadhana
Bālāmantra Japa बबालबामन्ततर जप
Seating: While doing this mantra japa, one has to either face East or North. If one does not have a guru, contemplate on Lord Dks ṣin ṣāmūrti and mentally accept Him as Guru. 1. Curse removal mantra:
बबालबामन्ततरजपत्ववेन शबापववममोचनमन्ततरर कवरष्यवे।
bālāmantrajapatvena śāpavimocanamantra karis ṣyeṁ । हसस हसकररर हसस hasai hasakarī hasaiṁ ṁ ṁ
(to be recited 100 times before the commencement of daily japa. The recitation of this mantra can be dispensed with after reciting 100 times for the first few days.)
2. Rṣs ṣyādi nyāsah ṣ ऋष्यबावद न्यबासस
अस्य शतरर बबालबावततरपपरसपन्दरर महबा मन्ततरस्य। वदद्क्षिणबाममवतर ऋवषस। पवङङतछन्दस। बबालबावततरपपरसपन्दरर दवेवतबा॥ asya śrī bālātripurasundarī mahā mantrasya dks ṣin ṣāmūrti r ṣs ṣih ṣ|(open the right palm and touch the top of the forehead)| pa ktichandah ṣ (right palm on the mouth)|ṅ bālātripurasundarī devatā(right palm on the heart chakra)॥
ऐर बरजर। ससस शवङतस। ङलरर करलकमत॥
शतरर बबालबावततरपपरसपन्दरर दशरन भबाषण वसदध्यरर जपवे वववनयमोगस॥
ai bīja (right shoulder)| sauh ṣ śaktih ṣ (left shoulder)| klī kīlakam (on the navel)||ṁ ṁ ṁ
śrī bālātripurasundarī darśana bhās ṣan ṣa siddhyarthe jape viniyogah ṣ (open both the palms and run them over all parts of the body; from head to feet)||
3. Karanyāsah ṣ करन्यबासस
ऐर - अङगपष्ठबाभ्यबामत नमस। ai - a gus ṣt ṣhābhyām namah ṣ| (use both the index fingers and runṁ ṅ them on both the thumbs)
ङलरर - तजरनरभ्यबार नमस। klī - tarjanībhyā namah ṣ| (use both the thumbs and run them onṁ ṁ both the index fingers)
ससस- मध्यमबाभ्यबार नमस। sauh ṣ- madhyamābhyā namah ṣ| (both the thumbs on the middleṁ fingers)
ऐर - अनबावमकबाभ्यबार नमस। ai - anāmikābhyā namah ṣ| (both the thumbs on the ring fingers)ṁ ṁ ङलरर - कवनष्ठरकबाभ्यबार नमस। klī - kanis ṣt ṣhīkābhyā namah ṣ| (both the thumbs on the littleṁ ṁ fingers)
ससस - करतलकरपपष्ठबाभ्यबार नमस। sauh ṣ - karatalakarapr ṣs ṣt ṣhābhyā namah ṣ| (open both theṁ palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm)
4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
ऐर- ह्र्दयबाय नमस। ai - hrdayāya namah ṣ| (open index, middle and ring fingers of the rightṁ hand and place them on the heart chakra)
ङलरर - वशरसवे स्वबाहबा। klī - śirase svāhā| (open middle and ring fingers of the right hand andṁ touch the top of the forehead)
ससस - वशखबायय वषटत। sauh ṣ - śikhāyai vas ṣat ṣ| (open the right thumb and touch the back of the head. This is the point where tuft is kept)
ऐर - कवचबाय हपर। ai - kavacāya hu | (cross both the hands and run the fully opened palmsṁ ṁ from shoulders to finger tips)
ङलरर - नवेततरततरयबाय वसषटत। klī - netratrayāya vaus ṣat ṣ| (open the index, middle and ringṁ fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.
ससस - अस्ततरबाय फटत॥ sauh ṣ - astrāya phat ṣ||
भमभपरवस्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ||
5. Dhyānam ध्यबानमत
रङतकलबाम्बरबार चन्दतरकलबावतर सबार समपद्यदबावदत्यवनभबार वततरनवेततरबार। ववद्यबाद्क्षिमबालबाभयदबामहस्तबार ध्यबायबावम बबालबामरुणबाम्बपजस्रबामत॥
raktakalāmbarā candrakalāvata sā samudyadādityanibhā trinetrā |ṁ ṁ ṁ ṁ ṁ vidyāks ṣamālābhayadāmahastā dhyāyāmi bālāmarun ṣāmbujasthām||ṁ
(Meaning of dhyāna verse for easy contemplation of Her form: I meditate upon the Bālā Devi, clad in red garments whose forehead is decorated with a crescent moon, who has three eyes, whose brilliance is like that of the rising sun, who is seated on a red lotus and who holds in her four bands a sacred book, rosary, abhaya and varada mudras.)
लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
la - pr ṣthivyātmikāyai gandha samarpayāmi|ṁ ṁ ha - ākāśātmikāyai pus ṣpaih ṣ pūjayāmi|ṁ
ya - vāyvātmikāyai dhūpamāghrāpayāmi|ṁ ra - agnyātmikāyai dhīpa darśayāmiṁ ṁ
va amr ṣtātmikāyai amr ṣta mahānaivedya nivedayāmi |ṁ ṁ ṁ sa - sarvātmikāyai sarvopacāra pūjām samarpayāmi||ṁ 7. Bālā mantrah ṣ बबालबा मन्ततरस
There are three types of Bālā mantra-s and they are known by different names. One has to choose any one of the following. Out of the three, Bālā navāks ṣarī mantra is very powerful and is the best mantra for recitation. It is capable of giving material comforts. The three syllable mantra is related to herbs. Those who make sacred herbal medicines should recite this mantra. The second six syllable mantra is capable of providing liberation from transmigration.
1. Bālā mantra consists of three bījāks ṣara-s – ॐ - ऐर - ङलरर – ससस (om - ai - klī - sauh ṣ)ṁ ṁ 2. Bālātripurasundarī mantra consists of six bījāks ṣara-s - ॐ - ऐर - ङलरर - ससस -- ससस - ङलरर – ऐर (om - ai - klī - sauh ṣ -- sauh ṣ - klī - ai )ṁ ṁ ṁ ṁ
3. Bālā navāks ṣarī mantra - ॐ - ऐर - ङलरर - ससस -- ससस - ङलरर - ऐर -- ऐर - ङलरर – ससस (om - ai - klīṁ ṁ - sauh ṣ -- sauh ṣ - klī - ai -- ai - klī - sauh ṣ)ṁ ṁ ṁ ṁ
8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस ऐर- ह्र्दयबाय नमस। ai - hrdayāya namah ṣ|ṁ ङलरर - वशरसवे स्वबाहबा। klī - śirase svāhā|ṁ ससस - वशखबायय वषटत। sauh ṣ - śikhāyai vas ṣat ṣ| ऐर - कवचबाय हपर। ai - kavacāya hu |ṁ ṁ
ङलरर - नवेततरततरयबाय वसषटत। klī - netratrayāya vaus ṣat ṣ|ṁ ससस - अस्ततरबाय फटत॥ sauh ṣ - astrāya phat ṣ||
भमभपरवस्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ|| 9. Dhyānam ध्यबानमत
रङतकलबाम्बरबार चन्दतरकलबावतर सबार समपद्यदबावदत्यवनभबार वततरनवेततरबार। ववद्यबाद्क्षिमबालबाभयदबामहस्तबार ध्यबायबावम बबालबामरुणबाम्बपजस्रबामत॥
raktakalāmbarā candrakalāvata sā samudyadādityanibhā trinetrā |ṁ ṁ ṁ ṁ ṁ vidyāks ṣamālābhayadāmahastā dhyāyāmi bālāmarun ṣāmbujasthām||ṁ 10. Pañcapūjā पञ्चपमजबा लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
la - pr ṣthivyātmikāyai gandha samarpayāmi|ṁ ṁ ha - ākāśātmikāyai pus ṣpaih ṣ pūjayāmi|ṁ
ya - vāyvātmikāyai dhūpamāghrāpayāmi|ṁ ra - agnyātmikāyai dhīpa darśayāmiṁ ṁ
va amr ṣtātmikāyai amr ṣta mahānaivedya nivedayāmi |ṁ ṁ ṁ sa - sarvātmikāyai sarvopacāra pūjām samarpayāmi||ṁ 11. Samarpan ṣam समपरनमत
गपहबावतगपहगमोप्ततरर त्वर गपहबाणबास्मबात्कपतर जपमत। वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥
Guhyātiguhyagoptrī tva gr ṣhān ṣāsmātkr ṣta japam|ṁ ṁ Siddhirbhavatu me devi tvatprasādānmayi sthirā||
(Meaning: You sustain the secret of all secrets. Please accept this japa performed by me and bestow Your perpetual Grace on me.)
Śrī saubhāgyavidyā pañcadaśākṣarī mantra
japaḥ शतरर ससौभबाग्यवविदबा पञ्चदशबाक्षरर मन्ततर जपप
1. Curse removal mantra:
Śrī saubhāgyavidyā pañcadaśāks ṣarī mantra japatvena śāpavimocanamantram karis ṣye | शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततर जपत्ववेन शबापववममोचनमन्ततरमत कवरष्यवे।
First Part – should be recited seven times: ई ए क ल हतररर ī e ka la hrīṁ
ह स क ह ल हतररर ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ
Second Part – should be recited three times: ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ
ई ए क ल हतररर ī e ka la hrīṁ
Third Part – should be recited one time. ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a 2. Rṣs ṣyādi nyāsah ṣ ऋष्यबावद न्यबासस
Asyaśrī Śrī saubhāgyavidyā pañcadaśāks ṣarī Mahāmantrasya । Śrī Daks ṣin ṣāmūrti r ṣs ṣih ṣ | Gāyatrī chandah ṣ । Śrī Lalitāmahātripurasundari Parābhat ṣt ṣārikā Devatā |
ai - ka e ī la hrī bīja | klī - ha sa ka ha la hrī śaktih ṣ | sauh ṣ - sa ka la hrīṁ ṁ ṁ ṁ ṁ ṁ kīlakam ||
Śrī Lalitāmahātripurasundari Parābhat ṣt ṣārikā darśana bhās ṣan ṣa siddhyarthe Śrī Saubhāgyavidyā Pañcadaśāks ṣarī Mahāmantra jape viniyogah ṣ ||
अस्यशतरर शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततरस्य । शतरर दवद्क्षिणबाममवतर ऋवषस । गबायततररच्छतन्दस। शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दवेवतबा । ऐर - क ए ई ल हतररर बरजर। ङलरर - ह स क ह ल हतररर शवङतस। ससस - स क ल हतररर करलकमत॥ शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दशरन भबाषण वसदध्यरर शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततर जपवे वववनयमोगस॥ 3. Karanyāsah ṣ करन्यबासस
ai - ka e ī la hrī a gus ṣt ṣhābhyām namah ṣ ṁ ṁ ṅ ऐर - क ए ई ल हतररर अङगपष्ठबाभ्यबामत नमस (use both the index fingers and run them on both the thumbs)
klī - ha sa ka ha la hrī tarjanībhyā namah ṣ ṁ ṁ ṁ ङलरर - ह स क ह ल हतररर तजरनरभ्यबार नमस (use both the thumbs and run them on both the index fingers)
sauh ṣ - sa ka la hrī madhyamābhyā namah ṣ ṁ ṁ ससस - स क ल हतररर मध्यमबाभ्यबार नमस (both the thumbs on the middle fingers)
ai - ka e ī la hrī anāmikābhyā namah ṣ ṁ ṁ ṁ ऐर - क ए ई ल हतररर अनबावमकबाभ्यबार नमस (both the thumbs on the ring fingers)
klī - ha sa ka ha la hrī kanis ṣt ṣhīkābhyā namah ṣ ṁ ṁ ṁ ङलरर - ह स क ह ल हतररर कवनष्ठरकबाभ्यबार नमस (both the thumbs on the little fingers)
sauh ṣ - sa ka la hrī karatalakarapr ṣs ṣt ṣhābhyā namah ṣ ṁ ṁ ससस - स क ल हतररर करतलकरपपष्ठबाभ्यबार नमस (open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm)
4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
ai - ka e ī la hrī hrdayāya namah ṣ| ṁ ṁ ऐर - क ए ई ल हतररर ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra – center of the chest) klī - ha sa ka ha la hrī śirase svāhā ṁ ṁ ङलरर - ह स क ह ल हतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead)
sauh ṣ - sa ka la hrī śikhāyai vas ṣat ṣ ṁ ससस - स क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept)
ai - ka e ī la hrī kavacāya hu ṁ ṁ ṁऐर - क ए ई ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips)
klī - ha sa ka ha la hrī netratrayāya vaus ṣat ṣ ṁ ṁ ङलरर - ह स क ह ल हतररर नवेततरततरयबाय वसषटत (open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.)
sauh ṣ - sa ka la hrī astrāya phat ṣ ṁ ससस - स क ल हतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand)
भमभपरवस्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ|| (by using right hand thumb and middle fingers make rattle clockwise around the head)
5. Dhyānam ध्यबानमत
sakumṣkuma-vilepanāmṣ alika-cumbi-kastūrikāmṣ samanda-hasiteks ṣan ṣām saśara-cāpa-pāśā kuśa ṅ ।
aśes ṣa-jana-mohinīmṣ arun ṣa-mālya-bhūs ṣāmṣbarāmṣ japā-kusuma-bhāsurāmṣ japavidhau smaredamṣbikām ॥
सकपरकपम-ववलवेपनबार अवलक-चपवम्ब-कस्तमवरकबार समन्द-हवसतवेद्क्षिणबामत सशर-चबाप-पबाशबारकपशबामत । अशवेष-जन-ममोवहनरर अरुण-मबाल्य-भमषबारबरबार जपबा-कपसपम-भबासपरबार जपववधस स्मरवेदरवबकबामत ॥
The meaning of this verse is: She is anointed with kumkum and vermilion, which gives a pleasant fragrance, towards which bees are attracted. She looks at Her devotees with a benignant smile. She holds in Her hands bow and arrow, two weaponries. She attracts everybody; which means everybody is attracted to Her irrespective of being Her devotee or not. She is wearing a red garland made out of special sandal wood. Excellent ornaments adore Her and She has the complexion like a hibiscus flower. One has to meditate on this form of Lalitāmbikā during japa time.
{sakumṣkuma – with kumkum; vilepanāmṣ – anointing; alika + cumbi – attracted by bees; kastūrikāmṣ –vermilion; samanda + hasita + eks ṣan ṣām (samanda-hasiteks ṣan ṣām)– benignant+ smile + looks; saśara – with arrow; cāpa – bow; pāśa – a weapon; a kuśa – aṅ weapon (these two weapons are already discussed in second śloka); + aśes ṣa + jana + mohinīm – attracts people without exception; arun ṣa – red; mālya – a type of sandal wood from Malaysian mountains; bhūs ṣa - ornaments; a barām – without the use ofṁ magical feats or incantations (attractions by sheer presence); japā-kusuma – red hibiscus flower; bhāsurām – decorated; japa + vidhau – as per the rules of japa or mantra chanting; smared + ambikām – think about Her.}
6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa) la - pr ṣthivyātmikāyai gandha samarpayāmi|ṁ ṁ ha - ākāśātmikāyai pus ṣpaih ṣ pūjayāmi|ṁ
ya - vāyvātmikāyai dhūpamāghrāpayāmi|ṁ ra - agnyātmikāyai dhīpa darśayāmi |ṁ ṁ
va - amr ṣtātmikāyai amr ṣta mahānaivedya nivedayāmi |ṁ ṁ ṁ sa - sarvātmikāyai sarvopacāra pūjām samarpayāmi||ṁ लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम।
यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम।
वर - अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
7. Śrī saubhāgyavidyā pañcadaśāks ṣarī Mahā Mantrah ṣ शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबा मन्ततरस ॐ ऐर हतररर शतररर ऐर - क ए ई ल हतररर ङलरर - ह स क ह ल हतररर ससस - स क ल हतररर om ai hrī śrīṁ ṁ ṁ ai - ka e ī la hrīṁ ṁ klī - ha sa ka ha la hrīṁ ṁ sauh ṣ - sa ka la hrīṁ
(First line -- om is pran ṣava; ai hrī śrī - this is known as tritārī.ṁ ṁ ṁ
Second, third and fourth lines consist of three bīja-s of Bālā mantra followed by three kūt ṣā-s of Pañcadaśī mantra. For example, in second line ai is the first bīja of Bālāṁ mantra which is followed by first kūt ṣā of Pañcadaśī mantra.)
8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस (same as per 4 above)
ai - ka e ī la hrī hrdayāya namah ṣ| ṁ ṁ ऐर - क ए ई ल हतररर ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra – center of the chest) klī - ha sa ka ha la hrī śirase svāhā ṁ ṁ ङलरर - ह स क ह ल हतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead)
sauh ṣ - sa ka la hrī śikhāyai vas ṣat ṣ ṁ ससस - स क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept)
ai - ka e ī la hrī kavacāya hu ṁ ṁ ṁऐर - क ए ई ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips)
klī - ha sa ka ha la hrī netratrayāya vaus ṣat ṣ ṁ ṁ ङलरर - ह स क ह ल हतररर नवेततरततरयबाय वसषटत (open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.)
sauh ṣ - sa ka la hrī astrāya phat ṣ ṁ ससस - स क ल हतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand)
भमभपरवस्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ|| (by using right hand thumb and middle fingers make rattle anticlockwise around the head)
9. Dhyānam ध्यबानमत (same as 5 above)
sakumṣkuma-vilepanāmṣ alika-cumbi-kastūrikāmṣ samanda-hasiteks ṣan ṣām saśara-cāpa-pāśā kuśa ṅ । aśes ṣa-jana-mohinīmṣ arun ṣa-mālya-bhūs ṣāmṣbarāmṣ japā-kusuma-bhāsurāmṣ japavidhau smaredamṣbikām ॥
सकपरकपम-ववलवेपनबार अवलक-चपवम्ब-कस्तमवरकबार समन्द-हवसतवेद्क्षिणबामत सशर-चबाप-पबाशबारकपशबामत । अशवेष-जन-ममोवहनरर अरुण-मबाल्य-भमषबारबरबार जपबा-कपसपम-भबासपरबार जपववधस स्मरवेदरवबकबामत ॥ 10. Pañcapūjā पञ्चपमजबा (same as 6 above) la - pr ṣthivyātmikāyai gandha samarpayāmi|ṁ ṁ ha - ākāśātmikāyai pus ṣpaih ṣ pūjayāmi|ṁ
ya - vāyvātmikāyai dhūpamāghrāpayāmi|ṁ ra - agnyātmikāyai dhīpa darśayāmi |ṁ ṁ
va - amr ṣtātmikāyai amr ṣta mahānaivedya nivedayāmi |ṁ ṁ ṁ sa - sarvātmikāyai sarvopacāra pūjām samarpayāmi||ṁ लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर - अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ 11. Samarpan ṣam समपरनमत
guhyāti guhya goptrī tva gr ṣhān ṣāsmat-kr ṣta japam|ṁ ṁ siddhirbhavatu me devi tvatprasādānmayi stirā|| गपहबावत हपह गमोप्ततरर त्वर गपहबाणबास्मतत-कपतर जपमत।
वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥
(Meaning: You sustain the secret of all secrets. Please accept this japa performed by me and bestow Your perpetual Grace on me.)
Mahās ṣod ṣaśī mantra is formulated like this.
First line: om - śrī - hrī - klī - ai - sauh ṣ (ṁ ṁ ṁ ṁ ॐ शतररर हतररर ङलरर ऐर ससस)
Place śrī bīja, then place māyā bīja, then kāma bīja, then vāgbhava bīja and finally parā bīja. Thus the first line of this mantra is formed.
There is a common doubt whether to include ॐ in the beginning or not. Any mantra should start with ॐ. Kulārn ṣava Tantra (XV.57) says that not beginning a mantra without ॐ causes impurity of birth. Further, Chāndogya Upanis ṣad begins by saying “om iti etat aks ṣaram udgītham upāsīta ॐ इवत एततत अद्क्षिरमत उदगररमत उपबासरत”. This means “this ॐ is closest to Brahman and recite this syllable as part of your worship”. And above all, the three Vedas begin with ॐ. Going by the interpretation of Chāndogya Upanis ṣad, ॐ at the beginning refers to Brahman. Mān ṣd ṣūkya Upanis ṣad (1) also says that ॐ is both the cause and the effect. Therefore, ॐ should be prefixed to mahās ṣod ṣaśī mantra, without which the mantra becomes ineffective. Further reasoning is given while discussing sauh ṣ*.
Next to ॐ is śrī (ṁ शतररर), which is known as śrī bīja or Laks ṣmī bīja. This is the most important bīja of mahās ṣod ṣaśī mantra, as by adding this bīja, the fifteen lettered Pañcadaśī becomes sixteen lettered S ṣod ṣaśī mantra. Bīja śrī is capable of providingṁ auspiciousness. It promotes positive attitude and positive growth in the mind of the aspirant. This bīja is the root cause for faith, devotion, love and ultimate surrender unto Her. First, one has to have to faith in divinity. This faith later transforms into devotion. When the devotion is strong, it turns into Love for Her. This love alone makes the aspirant to surrender unto Her. As śrī bīja is the cause for surrender unto Her, it leads the aspirant to liberation. Śrī comprises of three letters śa + ra + ī + nāda + bindu (dot) (ṁ श + र + ई and वबन्दप), where śa refers to Mahālaks ṣmī (Goddess of wealth), ra refers to wealth; ra bīja is also known as agni bīja and is capable of offering supernatural powers. Nāda is Consciousness about to manifest as the universe. It also means subtle sound. This can be best explained by . There is no other way to explain this. It is like humming nasalṁ sound. The sound made after closing both the lips is nāda. Without nāda, bindu cannot be effective as bindu cannot be pronounced separately. Nādabindu refers to the union of Śiva and Śakti, where Nāda means Śakti and bindu means Śiva. The dot (bindu) above this bīja removes sorrows and negative energies in the mind of the aspirant. Based on this fact, it is said that S ṣod ṣaśī mantra is capable of offering liberation or moks ṣa. It is also said, “S ṣod ṣaśī mantra kevala moks ṣa sādhanam”, which means that S ṣod ṣaśī mantraṁ offers only liberation, which is the ultimate goal of everyone. Since liberation is not attainable that easily, S ṣod ṣaśī mantra is said to be highly secretive in nature.
Next to शतररर is hrī ṁ हतररर, which is also known as māyā bīja. This is the combination of three letters ha + ra + ī and nāda and bindu (ह + र + ई + nāda + bindu. Ha refers to Divine Light of Śiva which also encompasses prān ṣa and ākāśā, two important principles without which we cannot exist. The second component of hrī is ra (ṁ र) which is also known as agni bīja. To the properties of ha, now the properties of ra are added. Properties of ra are fire (the fire that is needed for our sustenance), dharma (Agni is known for dharma) and of course agni, itself. It is said that when sun sets, it hands over its fire to Agni and takes it back when the sun rises again next day. Thus Agni also becomes a sustainer, like the sun. Śiva is also known as Prakāśa, the original divine Light. Third of part of hrī is īṁ which focuses the aspirants energy and motivate him to pursue the path of dharma. Nāda
refers to Universal Mother (the one who reflects the Light of Śiva to the world and She is also known as Vimarśa, meaning reflection, intelligence, etc) and the bindu (dot) is the dispeller of sorrow, which actually means dispelling innate ignorance, the reason for our sorrows.
Hrī ṁहतररर is also known as Bhuvaneśvarī bīja. Bhuvana means the earth and Īśvarī means the ruler. She is known as Bhuvaneśvarī because, She rules the earth. Ha means Śiva and ra means Prakr ṣti (which can be explained as Nature or original substance. Lalitā Sahasranāma 397 is Mūlaprakr ṣtih ṣ, which is explained here). Ī means Mahāmāya, the Divine Power of illusion. Nāda means Śrī Mātā, the Universal Mother. The dot, known as bindu is the dispeller of sorrows. Therefore, hrī can also be explained thus: Śiva (ha)ṁ and Śakti (ra) unite to cause creation (nāda) making a person afflicted with illusion. This illusion can be removed by both of them, if an aspirant contemplates them and this removal ignorance is done through bindu or dot.
Next to hrī ṁहतररर is klī ṁङलरर, which is known as kāma bīja. This bīja draws divine energy towards the aspirant. It acts like a magnet. This bīja is known as power of attraction. Kāma here does not mean lust, but means the desire to get into the state of Bliss (one among the four purus ṣārtha-s. Four purus ṣārtha-s are dharma, artha, kāma and moks ṣa). It completes the process of desire to attain Her. Attaining Her and entering into the state of Bliss go together. It increases the level of devotion. This bīja has got three parts – ka + la + am. Ka refers to desire to achieve Her Grace, la refers to contentment in one’s life, which reduces our desires and attachments and am gives happiness and joy. There are interpretations that ka also refers to Lord Kr ṣs ṣn ṣa. It is the bīja through which Śiva shows His Love for Her.
In the above three bīja-s, kāmakalā ī (ṁ ईर) is hidden. Kāmakalā can be explained through the innermost triangle of Śrī Cakra around the bindu (the innermost dot in Śrī Cakra). This dot represents Mahākāmeśvara-Mahākāmeśvari who are identical in all respects. They are seated in this dot, known as bindu. From the bindu, because of their union, creation takes place, resulting in the innermost triangle. The three sides represent Prakāśa (Light of Śiva), Vimarśa (diffusion of the Light of Śiva done by Śakti) and third side of the triangle represents “I am” and “this” (aham and idam). Thus, because of kāmakalā, these bīja-s become capable of creation.
Next to ङलरर is ai ṁऐर, which is known as vāgbhava bīja. It is the bīja of Sarasvati, Goddess of Knowledge. It has two parts ai + . also acts as the dispeller of sorrow. This bījaṁ ṁ also represents one’s Guru, who is the dispeller of ignorance and as a result of this bīja, one attains the highest spiritual knowledge. It also adds motivation, will power and dedication to the aspirant. This bīja is the cause for spiritual intellect (buddhi). Mainly intellect refers to the highest level of spiritual knowledge. It directly takes an aspirant to the concerned deity by increasing his level of awareness (consciousness).
Next to ऐर is sauh ṣ ससस, known as parā bīja. This is also known as hr ṣdayabīja or amr ṣtabīja. Śiva explains to Śakti about this in Parā-trīśikā-vivāran ṣa (verses 9 and 10), a Trika Scripture. He says to Her, “O! Gracious one! It is the third Brahman (sat or sa स) united with the fourteenth vowel औ (au – out of the sixteen vowels), well joined with that which comes at the end of the lord of vowels (visarga or : - two dots one above the other, used in the sixteenth vowel अस - ah ṣ). Therefore sauh ṣ is formed out of the combination of sa स + au औ+ h ṣ = sauh ṣ ससस. In Parā-trīśikā-vivāran ṣa (verse 26), it is again said, “He, who knows this mantra in its essence, becomes competent for initiation, leading to liberation without any sacrificial rites.” This is known as nirvān ṣa dīks ṣā or initiation for final liberation, where nirvān ṣa means emancipation. The Scripture proceeds to say that the one who elucidates the proper meaning of this bīja is known as Śiva Himself. This bīja is the Cosmic pulsation of the Lord.
The third Brahman referred here (sat) is explained in Bhagavad Gītā (XVII.23 - 26) “ॐ, tat and sat are the threefold representation of Brahman and from That alone Vedas, Vedic scholars and sacrificial rites have originated. Hence, during the acts of sacrifices, gifts, austerities approved by Scriptures and during Vedic recitations, ॐ is uttered in the beginning*. tat is recited by those who aim for liberation while performing sacrificial rites, austerities and charities without intent on the fruits of these actions. Sat is recited by those who perform the above acts with faith and on behalf of the Brahman.”
Thus sa स (sat) referred in this bīja is Śiva Himself, which represents His creative aspect, the pure Consciousness. Next comes His three energies Icchāśakti, Jñānaśakti and Kriyāśakti. During Creation, Cit Śakti of Śiva, after manifesting as Ānanda Śakti (Bliss) becomes the above referred three Śakti-s, before entering into the sphere of Māyā.
Ānanda Śakti is known as Śakti, normally referred as Śiva’s Consort or His Svātantraya Śakti, His exclusive and unique Power of Autonomy. These three powers can be explained as subject I; object That; and subject-object or I and That. These powers of Śiva are also known as Sadāśiva, Iśvara and Suddha Vidyā. Now the fusion between S and AU takes place and सस (sau) is formed. As a result of this fusion, creation happens, which is represented by visarga (two dots one above the other like the punctuation mark colon :) This is the Spanda or throb or pulsation of the Divine towards creation, causing the emission of His three energies contained in AU. With the addition of visarga (h ṣ :) at the end of सस (sau) becomes ससस (sauh ṣ). This parābīja is not meant for recitation or repetition but for the contemplation of Śiva, who alone is capable of offering liberation by removing all differentiations caused by māyā. The one who fully understands the significance of ससस (sauh ṣ) becomes instantly liberated.
Thus these five bīja-s form the first line of Mahās ṣod ṣaśī mantra.
Second line of Mahās ṣod ṣaśī mantra is formed thus; after these five bīja-s (in the first line), place pran ṣava, māyā bīja and śrī bīja and the second line appears like this:
om - hrī - śrī : ṁ ṁ ॐ – हतररर – शतररर.
ॐ used at the beginning of the mantra refers to the Supreme Self, known as Brahman. The second ॐ placed here represents the individual soul. Thus, this ॐ is to be replaced with ātmabīja, which is given by one’s guru either at the time of initiation or earlier. Everyone will have ātmabīja, which is derived based on several factors. Ātmabīja is discussed here. In case one’s guru has not given any ātmabīja to an aspirant, he can continue to use ॐ as his ātmabīja. The three bīja-s used here refers to three stages. ॐ is apara stage or the individual soul. Hrī represents the union of Śiva and Śakti and isṁ known as parāpara (the stage of cause and effect). The last bīja śrī is the stage of para,ṁ the Supreme energy, the state of Supreme Paramaśiva, where Śakti stands merged with Śiva and in this stage, She cannot be identified as a separate entity. For attaining liberation, one has to merge into Paramaśiva. In other words, individual soul (ॐ), transcend māyā, which is represented by hrī , where both Śiva and Śakti are present asṁ separate energies. The aspirant through sādhana (practice) goes past māyā, represented by bīja hrī to merge with the Supreme Self, represented by the third bīja śrī . Only in theṁ ṁ second line of mahās ṣod ṣaśī mantra, liberation is explicitly declared.
Third, fourth and fifth lines are Pañcadaśī mantra (15 bīja-s) and Pañcadaśī mantra is explained here.
In sixth and last line the bīja-s of the first line are placed in a reverse order. This is known as mantra samput ṣīkaran ṣa. This means that three bīja-s of the second line and Pañcadaśī mantra are encased by the first line and the last line, so that effects of Pañcadaśī mantra and the bīja-s of the second line do not go out of the aspirant and is sealed within the aspirant.
Mahās ṣod ṣaśī mantra thus formed is like this.
1. Om - śrī - hrī - klī - ai - sauh ṣ: ṁ ṁ ṁ ṁ ॐ शतररर हतररर ङलरर ऐर ससस (5 bīja-s, ॐ omitted) 2. om - hrī - śrī ṁ ṁॐ हतररर शतररर (3 bīja-s)
3. ka – e - ī – la- hrī ṁक ए ई ल हतररर (5 bīja-s)
4. ha - sa – ka – ha - la - hrī ṁह स क ह ल हतररर (6 bīja-s) 5. sa – ka - la - hrī ṁस क ल हतररर (4 bīja-s)
6. sauh ṣ - ai - klī - hrī - śrī ṁ ṁ ṁ ṁससस ऐर ङलरर हतररर शतररर (5 bīja-s)
Thus Mahās ṣod ṣaśī has twenty eight bīja-s, excluding the first pran ṣava.
Śrī Mahāṣoḍaśī Mahāmantra Japaḥ शतरर महबाषषोडशर
महबामन्ततर जपप
(This is the simple way of doing Śrī Mahās ṣod ṣaśī Mahāmantra Japa)
Before reading this article, please read the explanatory notes for this mantra HERE(below in yellow highlighted)
All mantra-s are considered secretive in nature and S ṣodaśī is not an exception. Recitation of S ṣodaśī leads to liberation. This mantra does not give any materialistic gains. It leads straight to the Brahman. Normally, one is not initiated into this mantra straight away. Guru decides the timing of initiation into this mantra. Generally one is first initiated into Bālā. Depending upon one’s progress, Pañcadaśī is initiated. If Guru considers that his disciple is fit for final liberation, he initiates him into S ṣodaśī. One should recite 900,000 times of this mantra followed by puraścaran ṣa rituals to attain
siddhi. Puraścaran ṣa is only for 100,000 recitations. Then only liberation is possible. It is also said that initiation into S ṣodaśī depends upon one’s karmic account.
Sṣodaśī vidyā is considered as Brahma vidyā, knowledge of the Brahman. Brahman is revealed in the form of mantra-s in S ṣodaśī vidyā. Since S ṣodaśī reveals the Brahman in the form of mantra-s, it is treated as highly secretive in nature. But the important aspect of its secrecy is the replacement of second Om in this mantra with the aspirant’s ātma bīja. The third aspect of the secrecy is the worship of ninth āvaran ṣa of Śrī Cakrā that deals with parā, parāpara and apara states (these states have been dealt with while discussing nāma-s). If one is able to reach the fourth stage of turya or turīya, he gets prepared to attain liberation in the next stage of turyātīta. Turya is reached without any difficulty when S ṣodaśī mantra is mentally recited regularly.
(Turya and turyātīta: Turya is the fourth state of consciousness, the other three being active, dream and deep sleep. Turya stage transcends all the above three stages by bundling them out. The level of consciousness at turya stage is very close to the stage of blissfulness, derived from experiment and observation rather than theory. Turyātīta is the stage where one’s consciousness transcends turya stage. In this stage of blissful consciousness, the Brahman is realised where one feels that “I am That” or aham brahmāsmi. The final stage of merging into the Brahman is kaivalya, when a soul ceases to transmigrate.}
In Pañcadaśī one can transcend the fourth state of consciousness, the turiya state. In Sṣodaśī one can merge with the Brahman, by reaching the fifth state of consciousness, turyātīta. There is nothing beyond this. What happens if one transcends turya state? The self is replaced by SELF. This transformative realization happens in a fraction of a second where near death-like situation is experienced. One is not the same person after that ‘second’.
Sṣod ṣaśī mantra is superior to Pañcadaśī. S ṣod ṣaśan means sixteen and s ṣod ṣaśah ṣ means sixteenth. S ṣod ṣaśī mantra is derived by adding one more bīja to Pañcadaśī mantra. In fact, S ṣod ṣaśī mantra consists of twenty eight bīja-s and formed like this. The first Om is excluded for computation, as all the mantras begin with ॐ.
1. Om ॐ
3. om - hrī - śrī ṁ ṁॐ हतररर शतररर (3 bīja-s) 4. ka – e - ī – la- hrī ṁक ए ई ल हतररर (5 bīja-s)
5. ha - sa – ka – ha - la - hrī ṁह स क ह ल हतररर (6 bīja-s) 6. sa – ka - la - hrī ṁस क ल हतररर (4 bīja-s)
7. sauh ṣ - ai - klī - hrī - śrī ṁ ṁ ṁ ṁससस ऐर ङलरर हतररर शतररर (5 bīja-s)
If this mantra is observed, one can find lines 4, 5 and 6 are the Pañcadaśī mantra and each line representing one kūt ṣa of Pañcadaśī. If lines 2 and 7 are observed, the bīja-s contained in the 2nd line are placed in the 7th line in reversed order. For example, the last bīja in line two is sauh ṣ: and this is placed as the first bīja of the 7th line. This is called samṣput ṣikaran ṣa or encasing of a mantra so that the power of mantra remains within the practitioner.
This mantra is known as S ṣod ṣaśī because of sixteen bīja-s, each kalā (kalā means a part) representing a kalā of moon. This is arrived at by adding Laks ṣmī bīja śrī (ṁ शतररर) at the end of Pañcadaśī mantra. These sixteen bīja-s are arrived at by considering each kūt ṣa of Pañcadaśī mantra as one bīja. This way, lines 4, 5 and 6 are considered as one bīja each, thus forming three bīja-s. The sixteen bīja-s are arrived by adding 5+3+1+1+1+5 (from line 2 to 7). There are two ॐ in this mantra. The first ॐ is not considered for calculation. The second ॐ in line 3 is replaced by ātma bīja of the practitioner and this is decided by one’s guru. Such a decision can be made by a guru if he is conversant with mantra-s and bīja-s. A wrong bīja can destroy the practitioner.
Sṣod ṣaśī mantra is meant exclusively for liberation and those who seek liberation alone should be initiated in this mantra. S ṣod ṣaśī mantra is the ultimate of all mantra-s and there is no other mantra superior to this. Those who are initiated into this mantra are not supposed to prostrate before anyone except his guru. Śaktī is worshipped in ten different forms and this is known as daśa mahā vidyā and s ṣod ṣaśī is one among them. S ṣod ṣaśī vidyā has too many prescribed rituals.
Like every mantra S ṣod ṣaśī mantra also has curse removal mantra, also known as śāpavimocana mantra. All along this mantra is not revealed to all the aspirants. If curses on mantras are not removed, mantras will not fructify. Śāpavimocana mantra for S ṣod ṣaśī mantra is given below for the benefit of sincere aspirants. However, one should obtain prior approval from one’s guru. Śāpavimocana mantra, which consists of three parts
should be recited before the commencement of mantra japa. First part should be recited seven times, second part three times and the third part one time.
First Part – should be recited seven times: ई ए क ल हतररर ī e ka la hrīṁ
ह स क ह ल हतररर ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ
Second Part – should be recited three times: ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ
ई ए क ल हतररर ī e ka la hrīṁ
Third Part – should be recited one time. ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a
Śrī Mahāṣoḍaśī Mahāmantra Japaḥ शतरर महबाषषोडशर
महबामन्ततर जपप
(This is the simple way of doing Śrī Mahās ṣod ṣaśī Mahāmantra Japa)
Seating: While doing this mantra japa, one has to either face East or North. If one does not have a guru, contemplate on Lord Dks ṣin ṣāmūrti and mentally accept Him as Guru. 1. Curse removal mantra:
Śrī Mahās ṣod ṣaśī Mahāmantra japatvena śāpavimocanamantram karis ṣye | शतरर महबाषमोडशर महबामन्ततर जपत्ववेन शबापववममोचनमन्ततरमत कवरष्यवे।
ई ए क ल हतररर ī e ka la hrīṁ
ह स क ह ल हतररर ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ
Second Part – should be recited three times: ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ
ई ए क ल हतररर ī e ka la hrīṁ
Third Part – should be recited one time. ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a 2. Rṣs ṣyādi nyāsah ṣ ऋष्यबावद न्यबासस
asyaśrī Mahās ṣodaśī Mahāmantrasya - Śrī Daks ṣin ṣāmūrti r ṣs ṣih ṣ - Gāyatrī chandah ṣ - Śrī Lalitāmahātripurasundari Parābhat ṣt ṣārikā Devatā |
अस्यशतरर महबाषमोदशर महबामन्ततरस्य - शतरर दवद्क्षिणबाममवतर ऋवषस - गबायततरर छन्दस - शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दवेवतबा ।
ai bīja | sauh ṣ śaktih ṣ | klī kīlakam || ṁ ṁ ṁ ऐर बरजर। ससस शवङतस। ङलरर करलकमत॥
Śrī Lalitāmahātripurasundari Parābhat ṣt ṣārikā darśana bhās ṣan ṣa siddhyarthe Śrī Mahās ṣod ṣaśī Mahāmantra jape viniyogah ṣ ||
शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दशरन भबाषण वसदध्यरर शतरर महबाषमोडशर महबामन्ततर जपवे वववनयमोगस॥ 3. Karanyāsah ṣ करन्यबासस
Om - śrī - hrī - klī - ai - sauh ṣ: a gus ṣt ṣhābhyām namah ṣ ṁ ṁ ṁ ṁ ṅ ॐ शतररर हतररर ङलरर ऐर ससस अङगपष्ठबाभ्यबामत नमस (use both the index fingers and run them on both the thumbs)
om - hrī - śrī tarjanībhyā namah ṣ ṁ ṁ ṁ ॐ हतररर शतररर तजरनरभ्यबार नमस (use both the thumbs and run them on both the index fingers)
ka – e - ī – la- hrī madhyamābhyā namah ṣ ṁ ṁ क ए ई ल हतररर मध्यमबाभ्यबार नमस (both the thumbs on the middle fingers)
ha - sa – ka – ha - la - hrī anāmikābhyā namah ṣ ṁ ṁ ह स क ह ल हतररर अनबावमकबाभ्यबार नमस (both the thumbs on the ring fingers)
sa – ka - la - hrī kanis ṣt ṣhīkābhyā namah ṣ ṁ ṁ स क ल हतररर कवनष्ठरकबाभ्यबार नमस (both the thumbs on the little fingers)
sauh ṣ - ai - klī - hrī - śrī karatalakarapr ṣs ṣt ṣhābhyā namah ṣ ṁ ṁ ṁ ṁ ṁ ससस ऐर ङलरर हतररर शतररर करतलकरपपष्ठबाभ्यबार नमस (open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm)
4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
Om - śrī - hrī - klī - ai - sauh ṣ: hrdayāya namah ṣ| ṁ ṁ ṁ ṁ ॐ शतररर हतररर ङलरर ऐर ससस ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra)
om - hrī - śrī śirase svāhā ṁ ṁ ॐ हतररर शतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead)
ka – e - ī – la- hrī śikhāyai vas ṣat ṣ ṁ स क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept)
ha - sa – ka – ha - la - hrī kavacāya hu ṁ ṁह स क ह ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips)
sa – ka - la - hrī netratrayāya vaus ṣat ṣ ṁ स क ल हतररर नवेततरततरयबाय वसषटत (open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.)
sauh ṣ - ai - klī - hrī - śrī astrāya phat ṣ ṁ ṁ ṁ ṁ ससस ऐर ङलरर हतररर शतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand)
भमभपरवस्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ|| (by using right hand thumb and middle fingers make rattle clockwise around the head)
5. Dhyānam ध्यबानमत
cāpa ceks ṣumaya prasūnaviśikhān pāśā kuśa pustakaṁ ṁ ṅ ṁ ṁ mān ṣikyās ṣasr ṣjavara man ṣīmayī vīn ṣā sarojadvaya |ṁ ṁ ṁ ṁ
pān ṣibhyā varadā abhaya ca dadhatī brahmādisevyā parāṁ ṁ ṁ ṁ ṁ sindūrārun ṣa vigrahā bhagavatī tā s ṣod ṣaśīmāśraye ||ṁ ṁ ṁ
चबापर चवेद्क्षिपमयर पतरसमनवववशखबानत पबाशबाङकपशर पपस्तकर मबावणङयबाषसपजवरर मणरमयरर वरणबार सरमोजद्वयर। पबावणभ्यबार वरदबा अभयर च दधतरर बतरहबावदसवेव्यबार परबार वसन्दमरबारुण ववगतरहबार भगवतरर तबार षमोडशरमबाशतरयवे॥
Meaning: She has twelve hands, holds (1) a bow made of sugarcane, (2) arrows made of kadamba flowers, (3) a noose, (4) a hook, (5) a book, (6) a rosary made of rubies, displays (7) abhaya (removal of fear) and (8) varadha (giving boons) mudras. She closely holds a veena (a musical instrument) with two hands (9 and 10) and lotus flowers in two hands (11 and 12) one on each side. She is worshipped by Brahmā and other gods and goddesses. She is red in complexion. I surrender unto this Supreme Goddess.
(There are other dhyāna verses also)
6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa) la - pr ṣthivyātmikāyai gandha samarpayāmi|ṁ ṁ ha - ākāśātmikāyai pus ṣpaih ṣ pūjayāmi|ṁ
ya - vāyvātmikāyai dhūpamāghrāpayāmi|ṁ ra - agnyātmikāyai dhīpa darśayāmi |ṁ ṁ
va amr ṣtātmikāyai amr ṣta mahānaivedya nivedayāmi |ṁ ṁ ṁ sa - sarvātmikāyai sarvopacāra pūjām samarpayāmi||ṁ लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
7. Śrī Mahās ṣod ṣaśī Mahā Mantrah ṣ शतरर महबाषमोडशर महबा मन्ततरस om śrī hrī klī ai sauh ṣ -- ṁ ṁ ṁ ṁ ॐ शतररर हतररर ङलरर ऐर ससस om hrī śrī -- ṁ ṁ ॐ हतररर शतररर ka e ī la hrī -- ṁ क ए ई ल हतररर ha sa ka ha la hrī -- ṁ ह स क ह ल हतररर sa ka la hrī -- ṁ स क ल हतररर sauh ṣ ai klī hrī śrī -- ṁ ṁ ṁ ṁ ससस ऐर ङलरर हतररर शतररर
Note: 1.There are two ॐ in this mantra and the second ॐ will be replaced by ātmabīja by one’s Guru at the time of initiating this mantra.
2. Please also note that the arrangement of bījā-s in the first line (om śrī hrī klī aiṁ ṁ ṁ ṁ sauh ṣ ) are reversed in the last line (sauh ṣ ai klī hrī śrī ). This is known asṁ ṁ ṁ ṁ samput ṣīkaran ṣa or the sealing of the mantra.
8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
Om - śrī - hrī - klī - ai - sauh ṣ: hrdayāya namah ṣ| ṁ ṁ ṁ ṁ ॐ शतररर हतररर ङलरर ऐर ससस ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra)
om - hrī - śrī śirase svāhā ṁ ṁ ॐ हतररर शतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead)
ka – e - ī – la- hrī śikhāyai vas ṣat ṣ ṁ स क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept)
ha - sa – ka – ha - la - hrī kavacāya hu ṁ ṁह स क ह ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips)
sa – ka - la - hrī netratrayāya vaus ṣat ṣ ṁ स क ल हतररर नवेततरततरयबाय वसषटत (open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.)
sauh ṣ - ai - klī - hrī - śrī astrāya phat ṣ ṁ ṁ ṁ ṁ ससस ऐर ङलरर हतररर शतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand)
भमभपरवस्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ|| (by using right hand thumb and middle fingers make rattle anticlockwise around the head)
9. Dhyānam ध्यबानमत
cāpa ceks ṣumaya prasūnaviśikhān pāśā kuśa pustakaṁ ṁ ṅ ṁ ṁ mān ṣikyās ṣasr ṣjavara man ṣīmayī vīn ṣā surojadvaya |ṁ ṁ ṁ ṁ
pān ṣibhyā varadā abhaya ca dadhatī brahmādisevyā parāṁ ṁ ṁ ṁ ṁ sindūrārun ṣa vigrahā bhagavatī tā s ṣod ṣaśīmāśraye ||ṁ ṁ ṁ
मबावणङयबाषसपजवरर मणरमयरर वरणबार सपरमोजद्वयर। पबावणभ्यबार वरदबा अभयर च दधतरर बतरहबावदसवेव्यबार परबार वसन्दमरबारुण ववगतरहबार भगवतरर तबार षमोडशरमबाशतरयवे॥ 10. Pañcapūjā पञ्चपमजबा
la - pr ṣthivyātmikāyai gandha samarpayāmi|ṁ ṁ ha - ākāśātmikāyai pus ṣpaih ṣ pūjayāmi|ṁ
ya - vāyvātmikāyai dhūpamāghrāpayāmi|ṁ ra - agnyātmikāyai dhīpa darśayāmi |ṁ ṁ
va - amr ṣtātmikāyai amr ṣta mahānaivedya nivedayāmi |ṁ ṁ ṁ sa - sarvātmikāyai sarvopacāra pūjām samarpayāmi||ṁ लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ 11. Samarpan ṣam समपरनमत
guhyāti guhya goptrī tva gr ṣhān ṣāsmat-kr ṣta japam|ṁ ṁ siddhirbhavatu me devi tvatprasādānmayi stirā|| गपहबावत गपह गमोप्ततरर त्वर गपहबाणबास्मतत-कपतर जपमत।
वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥
(Meaning: You sustain the secret of all secrets. Please accept this japa performed by me and bestow Your perpetual Grace on me.)
