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Tantrāloka (Tantraloka): Chapter 31 - stanzas 1 to 163 - Non-dual Shaivism of Kashmir
Maṇḍalam
Introduction
This is the only set of stanzas (from the stanza 1 to the stanza 163) of the thirty-first chapter (called Maṇḍalam).
This work was written by the great Master Abhinavagupta and is a compendium of Tantra in all its facets. Tantrāloka is the most important and voluminous work of the greatest Trika Master. Abhinavagupta was also the teacher of eminent Kṣemarāja and lived about 975-1025 AD in Kashmir.
This treatise whose name is Tantrāloka is a complete encyclopedia of Tantra. Since it is a very advanced text in Trika Shaivism, there is no surprise if a neophyte finds it difficult to understand. To start to understand it, the level of the reader must be the one of a real disciple in Trika Shaivism. If this requirement is not met, then there will be a lot of confusion and constant disappointment. Because in spite of my great efforts to explain the things so easily as possible, to study this treatise requires some spiritual caliber. In this system, sometimes it is not possible even to write about certain topics due to the extreme limitation of the words. Because in the end, all this knowledge has to do with 'states', and it is extremely difficult to write about 'states' in a precise way. Abhinavagupta has done his best to accomplish this formidable task of writing about what is superior and intangible. Anyway, despite his incredible skills to carry out this, he is not revealing everything. It is not because he is all the time hiding things from the reader, but because he is sometimes hiding and on other occasions he just cannot write about some extremely subtle topics because of the limitation of the words.
Goal of life is Liberation. Man has searched for freedom always in human history, but according to Trika Shaivism that is not real Liberation. Real Liberation does not mean that your body should be free from some prison and things like that. Real Liberation amounts to attaining His Svātantrya or Absolute Freedom. When the Great Lord's Svātantrya is achieved, then you see unity in all the things, i.e. you stop seeing duality as before. All is forever identified with Svātantrya, with Him, and that is the end of the story called 'you in bondage'. From this point on nothing will get in your way, because if something apparently gets in your way, that is Svātantrya again. This constant awareness of unity in all is real Freedom. There is no other attainment greater than this!
Keeping the above in mind, now read Tantrāloka and experience Supreme Delight, dear Śiva.
Important: All that is in brackets and italicized within the translation has been added by me in order to complete the sense of a particular phrase or sentence. In turn, all that is between double hyphen (--...--) constitutes clarifying further information also added by me.
Stanzas 1 to 25
अथ श्रीतन्त्रालोक एकत्रिंशमाह्निकम्।
Atha śrītantrāloka ekatriṁśamāhnikam|
Here begins (atha) the thirty-first (ekatriṁśam) chapter (āhnikam) in venerable Tantrāloka (śrī-tantrāloke)|
अथ मण्डलसद्भावः सङ्क्षेपेणाभिधीयते।
साधयित्वा दिशं पूर्वां सूत्रमास्फालयेत्समम्॥१॥
तदर्धयित्वा मध्यप्राक्प्रतीचीष्वङ्कयेत्पुनः।
ततोऽप्यर्धतदर्धार्धमानतः पूर्वपश्चिमौ॥२॥
अङ्कयेत्तावता दद्यात्सूत्रेण भ्रमयुग्मकम्।
मत्स्यसन्धिद्वयं त्वेवं दक्षिणोत्तरयोर्भवेत्॥३॥
तन्मध्ये पातयेत्सूत्रं दक्षिणोत्तरसिद्धये।
यदि वा प्राक्पराक्तुल्यसूत्रेणोत्तरदक्षिणे॥४॥
अङ्कयेदपरादङ्कात्पूर्वादपि तथैव ते।
मत्स्यमध्ये क्षिपेत्सूत्रमायतं दक्षिणोत्तरे॥५॥
मतक्षेत्रार्धमानेन मध्याद्दिक्ष्वङ्कयेत्ततः।
सूत्राभ्यां दिग्द्वयोत्थाभ्यां मत्स्यः स्यात्प्रतिकोणगः॥६॥
मत्स्येषु वेदाः सूत्राणीत्येवं स्याच्चतुरस्रकम्।
एकस्मात्प्रभृति प्रोक्तं शतान्तं मण्डलं यतः॥७॥
सिद्धातन्त्रे मण्डलानां शतं तत्पीठ उच्यते।
यत्तन्मध्यगतं मुख्यं मण्डलानां त्रयं स्मृतम्॥८॥
मध्यशूलं त्रित्रिशूलं नवशूलमिति स्फुटम्।
तत्र शूलविधानं यदुक्तं भेदैरनन्तकैः॥९॥
तद्योनि मण्डलं ब्रूमः सद्भावक्रमदर्शितम्।
वेदाश्रिते चतुर्हस्ते त्रिभागं सर्वतस्त्यजेत्॥१०॥
भागैः षोडशभिः सर्वं तत्तत्क्षेत्रं विभाजयेत्।
ब्रह्मसूत्रद्वयस्याथ मध्यं ब्रह्मपदं स्फुटम्॥११॥
कृत्वावधिं ततो लक्ष्यं चतुर्थं सूत्रमादितः।
ततस्तिर्यग्व्रजेत्सूत्रं चतुर्थं तदनन्तरे॥१२॥
कोष्ठे चेन्दुद्वयं कुर्याद्बहिर्भागार्धभागतः।
तयोर्लग्नं ब्रह्मसूत्रात्तृतीये मर्मणि स्थितम्॥१३॥
कोष्ठकार्धेऽपरं चेति युग्ममन्तर्मुखं भवेत्।
ब्रह्मसूत्राद्द्वितीयस्मिन्हस्तं मर्मणि निश्चलम्॥१४॥
कृत्वा पूर्णेन्दुयुगलं वर्तयेत विचक्षणः।
ब्रह्मसूत्रगतात्षष्ठात्तिर्यग्भागात्तृतीयके॥१५॥
कृत्वार्धकोष्ठके सूत्रं पूर्णचन्द्राग्रलम्बितम्।
भ्रामयेदुन्मुखं खण्डचन्द्रयुग्वह्निभागगम्॥१६॥
तिर्यग्भागद्वयं त्यक्त्वा खण्डेन्दोः पश्चिमात्ततः।
कोणं यावत्तथा स्याच्च कुर्यात्खण्डं भ्रमद्वयम्॥१७॥
सुतीक्ष्णकुटिलाग्रं तदेकं शृङ्गं प्रजायते।
द्वितीयस्मिन्नपि प्रोक्तः शृङ्ग एष विधिः स्फुटः॥१८॥
मध्यशृङ्गेऽथ कर्तव्ये तृतीय ऊर्ध्वकोष्ठके।
चतुर्थार्धे च चन्द्रार्धद्वयमन्तर्मुखं भवेत्॥१९॥
तच्च पूर्णेन्दुमेकं प्राग्वर्तितं प्राप्नुयाद्यथा।
अन्योन्यग्रन्थियोगेन बद्धारत्वं प्रजायते॥२०॥
एवं द्वितीयपार्श्वेऽस्य खण्डेन्दुद्वयवर्तनात्।
मध्याभ्यां गण्डिका श्लिष्टा पराभ्यामग्रतो नयेत्॥२१॥
सूत्रं पार्श्वद्वये येन तीक्ष्णं स्यान्मध्यशृङ्गगम्।
पार्श्वद्वयाधरे पश्चाद्ब्रह्मसूत्रं द्वितीयकम्॥२२॥
अवधानेन सङ्ग्राह्यमाचार्येणोहवेदिना।
भवेत्पश्चान्मुखो मन्त्री तस्मिंश्च ब्रह्मसूत्रके॥२३॥
मध्यशृङ्गं वर्जयित्वा सर्वः पूर्वोदितो विधिः।
ततो यदुन्मुखं खण्डचन्द्रयुग्मं पुरोदितम्॥२४॥
ततो द्वयेन कर्तव्या गण्डिकान्तःसुसङ्गता।
द्वयेनाग्रगसूत्राभ्यां मध्यशृङ्गद्वयं भवेत्॥२५॥
Atha maṇḍalasadbhāvaḥ saṅkṣepeṇābhidhīyate|
Sādhayitvā diśaṁ pūrvāṁ sūtramāsphālayetsamam||1||
Tadardhayitvā madhyaprākpratīcīṣvaṅkayetpunaḥ|
Tato'pyardhatadardhārdhamānataḥ pūrvapaścimau||2||
Aṅkayettāvatā dadyātsūtreṇa bhramayugmakam|
Matsyasandhidvayaṁ tvevaṁ dakṣiṇottarayorbhavet||3||
Tanmadhye pātayetsūtraṁ dakṣiṇottarasiddhaye|
Yadi vā prākparāktulyasūtreṇottaradakṣiṇe||4||
Aṅkayedaparādaṅkātpūrvādapi tathaiva te|
Matsyamadhye kṣipetsūtramāyataṁ dakṣiṇottare||5||
Matakṣetrārdhamānena madhyāddikṣvaṅkayettataḥ|
Sūtrābhyāṁ digdvayotthābhyāṁ matsyaḥ syātpratikoṇagaḥ||6||
Matsyeṣu vedāḥ sūtrāṇītyevaṁ syāccaturasrakam|
Ekasmātprabhṛti proktaṁ śatāntaṁ maṇḍalaṁ yataḥ||7||
Siddhātantre maṇḍalānāṁ śataṁ tatpīṭha ucyate|
Yattanmadhyagataṁ mukhyaṁ maṇḍalānāṁ trayaṁ smṛtam||8||
Madhyaśūlaṁ tritriśūlaṁ navaśūlamiti sphuṭam|
Tatra śūlavidhānaṁ yaduktaṁ bhedairanantakaiḥ||9||
Tadyoni maṇḍalaṁ brūmaḥ sadbhāvakramadarśitam|
Vedāśrite caturhaste tribhāgaṁ sarvatastyajet||10||
Bhāgaiḥ ṣoḍaśabhiḥ sarvaṁ tattatkṣetraṁ vibhājayet|
Brahmasūtradvayasyātha madhyaṁ brahmapadaṁ sphuṭam||11||
Kṛtvāvadhiṁ tato lakṣyaṁ caturthaṁ sūtramāditaḥ|
Tatastiryagvrajetsūtraṁ caturthaṁ tadanantare||12||
Koṣṭhe cendudvayaṁ kuryādbahirbhāgārdhabhāgataḥ|
Tayorlagnaṁ brahmasūtrāttṛtīye marmaṇi sthitam||13||
Koṣṭhakārdhe'paraṁ ceti yugmamantarmukhaṁ bhavet|
Brahmasūtrāddvitīyasminhastaṁ marmaṇi niścalam||14||
Kṛtvā pūrṇenduyugalaṁ vartayeta vicakṣaṇaḥ|
Brahmasūtragatātṣaṣṭhāttiryagbhāgāttṛtīyake||15||
Kṛtvārdhakoṣṭhake sūtraṁ pūrṇacandrāgralambitam|
Bhrāmayedunmukhaṁ khaṇḍacandrayugvahnibhāgagam||16||
Tiryagbhāgadvayaṁ tyaktvā khaṇḍendoḥ paścimāttataḥ|
Koṇaṁ yāvattathā syācca kuryātkhaṇḍaṁ bhramadvayam||17||
Sutīkṣṇakuṭilāgraṁ tadekaṁ śṛṅgaṁ prajāyate|
Dvitīyasminnapi proktaḥ śṛṅga eṣa vidhiḥ sphuṭaḥ||18||
Madhyaśṛṅge'tha kartavye tṛtīya ūrdhvakoṣṭhake|
Caturthārdhe ca candrārdhadvayamantarmukhaṁ bhavet||19||
Tacca pūrṇendumekaṁ prāgvartitaṁ prāpnuyādyathā|
Anyonyagranthiyogena baddhāratvaṁ prajāyate||20||
Evaṁ dvitīyapārśve'sya khaṇḍendudvayavartanāt|
Madhyābhyāṁ gaṇḍikā śliṣṭā parābhyāmagrato nayet||21||
Sūtraṁ pārśvadvaye yena tīkṣṇaṁ syānmadhyaśṛṅgagam|
Pārśvadvayādhare paścādbrahmasūtraṁ dvitīyakam||22||
Avadhānena saṅgrāhyamācāryeṇohavedinā|
Bhavetpaścānmukho mantrī tasmiṁśca brahmasūtrake||23||
Madhyaśṛṅgaṁ varjayitvā sarvaḥ pūrvodito vidhiḥ|
Tato yadunmukhaṁ khaṇḍacandrayugmaṁ puroditam||24||
Tato dvayena kartavyā gaṇḍikāntaḥsusaṅgatā|
Dvayenāgragasūtrābhyāṁ madhyaśṛṅgadvayaṁ bhavet||25||
Now (atha), the real being of maṇḍala-s (maṇḍala-sadbhāvaḥ) is briefly explained (saṅkṣepeṇa abhidhīyate).
Having found out (by calculation) (sādhayitvā) the eastern direction (diśam pūrvām), he should twang --if this makes any sense; other meanings in dictionary look off-target in this context-- (āsphālayet) the thread (sūtram), (and) having halved it (tad ardhayitvā) into equal portions (samam), he should make marks (aṅkayet) in the center, in the front --lit. in the east--, and in the rear --lit. in the west-- (madhya-prāk-pratīcīṣu) (of such a thread). After that (tatas api), again (punar), he should mark (aṅkayet), to the same extent (tāvatā), the front and the rear (of the thread) (pūrva-paścimau) in a measure of half, half of that, (and) half (once more) (ardha-tad-ardha-ardha-mānatas). He should give (dadyāt) a couple of rotations (bhrama-yugmakam) with the thread (sūtreṇa). Thus (evam), (now) the pair of junctures of the fish --i.e. the figure being produced looks like a fish-- (matsya-sandhi-dvayam) remains (bhavet) in the south and the north (dakṣiṇa-uttarayoḥ). For establishing south and north (dakṣiṇa-uttara-siddhaye), he should throw (pātayet) the thread (sūtram) in the middle of that (tad-madhye). Or else (yadi vā), he should likewise mark (aṅkayet... tathā eva) the north and the south (uttarā-dakṣiṇe... te) with a thread (whose length) equals (the distance between) the eastern and western (points) (prāk-parāk-tulya-sūtreṇa), (starting) from the western as well as from the eastern mark (aparāt aṅkāt pūrvāt api). (Next,) in the middle of the fish (matsya-madhye), he should throw (kṣipet) the thread (sūtram) which is stretching (āyatam) through south and north (dakṣiṇā-uttare). (Now,) through (a thread) whose measure is half the estimated area (mata-kṣetra-ardha-mānena), he should mark (aṅkayet), (beginning) from the center (madhyāt), the (four) directions (dikṣu). After that (tatas), by means of two threads (sūtrābhyām) rising from two directions (dik-dvaya-utthābhyām), there is (syāt) a fish (matyaḥ) residing in every corner/angle (prati-koṇa-gaḥ). (Now, there are) four threads (vedāḥ sūtrāṇi) in the fishes (matsyeṣu). Thus (iti evam), a square (caturasrakam) appears (syāt) --sorry if my translation is confusing but the text is not clear enough; despite I was forced to read the Jayaratha's commentary, when I fully translate it in detail I will polish my own stuff here--.
Because (yatas) the maṇḍala (maṇḍalam) is said to (proktam) start from one (ekasmāt prabhṛti) (and) end in one hundred (śata-antam), in that section --i.e. in the section dealing with maṇḍala-s-- (tad-pīṭhe) of Siddhātantra (siddhātantre), (a group of) one hundred (śatam) maṇḍala-s (maṇḍalānām) is mentioned (ucyate). Among the (maṇḍala-s) which are present there --viz. in Siddhātantra-- (yad tad-madhya-gatam), a triad (trayam) of maṇḍala-s (maṇḍalānām) is clearly said to be (smṛtam... sphuṭam) the main one (mukhyam): "(A first maṇḍala) with a trident in the center (madhya-śūlam), (a second one) with three tridents (tri-triśūlam), (and a third one) with nine tridents (nava-śūlam iti)". In that context (tatra), (there is) the procedure with reference to the trident (śūla-vidhānam) with (its) innumerable divisions (bhedaiḥ anantakaiḥ), which (yad) is mentioned (in different scriptures) (uktam). I am going to talk --lit. we are going to talk-- (brūmaḥ) about the source of (those innumerable divisions) (tad-yoni), i.e. about a maṇḍala (maṇḍalam) that is shown in the method of Sadbhāva (sadbhāva-krama-darśitam).
He should completely abandon (sarvatas tyajet) a third part --i.e. 32 fingers-- (tri-bhāgam) in a square whose measure is four hands --viz. 96 fingers-- (vedāśrite catur-haste). (Afterward,) he should divide (vibhājayet) all (sarvam) that very area (tad-tad-kṣetram) into sixteen portions (bhāgaiḥ ṣoḍaśabhiḥ).
Now (atha), the middle (madhyam) of the two threads of Brahmā (brahma-sūtra-dvayasya) clearly (sphuṭam) (shows) the State of Brahmā (brahma-padam). After that (tatas), having made (kṛtvā) (the State of Brahmā) the furthest limit (avadhim), the fourth (caturtham) thread (sūtram) is to be marked (lakṣyam). Next (tatas), from that point --Jayaratha says that "āditas" means "ūrdhvakrameṇa", i.e. "gradually upward"-- (āditas), he should move (vrajet) transversely (tiryak) toward the fourth (caturtham) thread (sūtram). And (ca) in the square (koṣṭhe) standing next (tad-anantare), he should make (kuryāt) a couple of moons (indu-dvayam) outward (bahis) for one and half quarters (bhāga-ardha-bhāgatas). The intersection (lagnam) of those two (tayoḥ) abides (sthitam) in the third marma --i.e. in the third point of intersection-- (tṛtīye marmaṇi) from the Brahmā's thread (brahma-sūtrāt). And (ca) within half a square (koṣṭhaka-ardhe), there should be (bhavet) so (iti) another (aparam) couple (yugmam) (of half-moons) facing inward (antarmukham). After having placed (kṛtvā) the hand (hastam), without moving (it) (niścalam), on the second marma or point of intersection (dvitīyasmin... marmaṇi) from the Brahmā's thread (brahma-sūtrāt), he who is wise and conversant (vicakṣaṇaḥ) should make (vartayeta) a pair of full-moons (pūrṇa-indu-yugalam). After placing (kṛtvā) the thread (sūtram) in the third half square (tṛtīyake... ardha-koṣṭhake) from the sixth horizontal portion residing in the Brahmā's thread (brahma-sūtra-gatāt ṣaṣṭhāt tiryak-bhāgāt), (and after making it) rest on the tip of the full moon (pūrṇa-candra-agra-lambitam), he should rotate (the thread) (bhrāmayet) so that it will face upward (unmukham) (and will) remain in the three portions (in order to thus create) a couple of half-moons --lit. a couple of moons that are not full-- (khaṇḍa-candra-yuk-vahni-bhāga-gam). Afterward (tatas), having abandoned (tyaktvā) a pair of horizontal portions (tiryak-bhāga-dvayam), he should create (kuryāt) a pair of semicircles (khaṇḍam bhrama-dvayam) from the half moon (khaṇḍa-indoḥ) (that remains) in the west (paścimāt) up to the corner/angle (koṇam yāvat). It should be (syāt ca) so (tathā) --if this makes any sense here; the text is confusing, and unfortunately Abhinavagupta forgot to study didactics, because it would have been simpler to show a few step and step diagrams instead of writing all these obscure instructions--. Therefore (tad), one (ekam) prong (śṛṅgam) —very sharp and with a curved tip (su-tīkṣṇa-kuṭila-agram)— comes into existence (prajāyate). This (eṣaḥ) clear --here Abhinavagupta is joking, obviously, because this procedure is anything but clear-- (sphuṭaḥ) procedure (vidhiḥ) is said to be (used) (proktaḥ) regarding the second prong (dvitīyasmin... śṛṅge) as well (api). Now (atha), when the central prong needs to be made (madhya-śṛṅge... kartavye), there should be (bhavet) a couple of half-moons (candra-ardha-dvayam) facing inward (antarmukham) in the third square located above (tṛtīye ūrdhva-koṣṭhake), and (ca) in the half of the fourth one (caturtha-ardhe). And (ca) that (tad) should reach (prāpnuyāt) the one full moon (pūrṇa-indum ekam) which was created before (prāk-vartitam), so that (yathā), by the union of the knots with each other (anyonya-granthi-yogena), a condition in which the spokes are (fully) connected (baddha-aratvam) is produced (prajāyate). Thus (evam) with reference to the second side (dvitīya-pārśve) (too). Since there are two half-moons (khaṇḍa-indu-dvaya-vartanāt), the little bulb --it refers to a kind of bulb in the lower portion of the trident's staff-- (gaṇḍikā) is embraced (śliṣṭā) by both central prongs (madhyābhyām). (So,) he should lead (nayet) the thread (sūtram) from the other two (parābhyām) up to the tip (agratas) on both sides (pārśvadvaye), so that (yena) it remains in the sharp central prong (tīkṣṇam syāt madhya-śṛṅga-gam). The second (dvitīyakam) Brahmā's thread (brahmasūtra) from behind (paścāt), below the two sides (pārśva-dvaya-adhare), is to be carefully grabbed (avadhānena saṅgrāhyam) by the Ācārya --i.e. by the Guru-- (ācāryeṇa), who knows the transpositions (ūha-vedinā). (Then, the Guru) should become (bhavet) a Mantrī --i.e. someone repeating Mantra-s, a conjurer, etc.-- (mantrī) turned westward (paścānmukhaḥ). And (ca) regarding that Brahmā's thread (tasmin... brahma-sūtrake), the whole (sarvaḥ) abovementioned (pūrva-uditaḥ) procedure (vidhiḥ) (is to be performed by him,) except for (varjayitvā) (the one related to) the central prong (madhya-śṛṅgam).
After that (tatas), (there is) the aforesaid (purā-uditam) pair of half-moons (khaṇḍa-candra-yugmam) which (yad) are facing upward (unmukham). Consequently (tatas), the little bulb (at the bottom of the staff of the trident) (gaṇḍikā) is to be made (kartavyā) to join well (su-saṅgatā) with those two (dvayena) internally (antar). (And,) with the two threads residing in front (agra-ga-sūtrābhyām) —together with the two (dvayena)— there is (bhavet) a group of two central prongs (madhya-śṛṅga-dvayam)||1-25||
Stanzas 26 to 32
अधो भागविवृद्ध्यास्य पद्मं वृत्तचतुष्टयम्।
ततश्चक्रं षोडशारं द्वादशारं द्विधाथ तत्॥२६॥
मध्ये कुलेश्वरीस्थानं व्योम वा तिलकं च वा।
पद्मं वाथ षडरं वा वियद्द्वादशकं च वा॥२७॥
त्रित्रिशूलेऽत्र सप्तारे श्लिष्टमात्रेण मध्यतः।
पद्मानामथ चक्राणां व्योम्नां वा सप्तकं भवेत्॥२८॥
मिश्रितं वाथ सङ्कीर्णं समासव्यासभेदतः।
ततः क्षेत्रार्धमानेन क्षेत्रं तत्राधिकं क्षिपेत्॥२९॥
Adho bhāgavivṛddhyāsya padmaṁ vṛttacatuṣṭayam|
Tataścakraṁ ṣoḍaśāraṁ dvādaśāraṁ dvidhātha tat||26||
Madhye kuleśvarīsthānaṁ vyoma vā tilakaṁ ca vā|
Padmaṁ vātha ṣaḍaraṁ vā viyaddvādaśakaṁ ca vā||27||
Tritriśūle'tra saptāre śliṣṭamātreṇa madhyataḥ|
Padmānāmatha cakrāṇāṁ vyomnāṁ vā saptakaṁ bhavet||28||
Miśritaṁ vātha saṅkīrṇaṁ samāsavyāsabhedataḥ|
Tataḥ kṣetrārdhamānena kṣetraṁ tatrādhikaṁ kṣipet||29||
Below it (adhas... asya), after increasing (the number of) portions (bhāga-vivṛddhya), (there is) a lotus (padmam) containing a group of four circles (vṛtta-catuṣṭayam). Next (tatas), (there is) a wheel (cakram) containing sixteen spokes (ṣoḍaśa-aram), twelve spokes (dvādaśa-aram), and (atha) twice that (dvidhā... tad). The place of Kuleśvarī (kuleśvarī-sthānam) (is) in the center (madhye), (like) ether (vyoma), a mark being the size of a freckle (tilakam), a six-spoked lotus (padmam... ṣaṭ-aram), or (vā... ca vā... vā atha... vā... ca vā) (a lotus) containing twelve ethers (viyat-dvādaśakam). Here (atra), in the three tridents (tri-triśūle) (and) seven spokes (sapta-are), there should be (bhavet) a set of seven (saptakam) lotuses (padmānām), wheels (cakrāṇām), or (atha... vā) ethers (vyomnām) which are just centrally united together (śliṣṭa-mātreṇa madhyatas). (This septet can be) mixed (miśritam) or (vā atha) combined (saṅkīrṇam) individually or collectively (samāsavyāsa-bhedatas).
After that (tatas), he should cast (kṣipet) there (tatra) an additional (adhikam) area (kṣetram) whose measure is half (the previous) area (kṣetra-ardha-mānena)||26-29||
तत्र दण्डः स्मृतो भागः षडरामलसारकः।
सुतीक्ष्णाग्रः सुरक्ताभः क्षणादावेशकारकः॥३०॥
या सा कुण्डलिनी देवी तरङ्गाख्या महोर्मिणी।
सा षडश्रेण कन्दाख्ये स्थिता षड्देवतात्मिका॥३१॥
अष्टभागैश्च विस्तीर्णो दीर्घश्चापि तदर्धतः।
ततो द्वाराणि कार्याणि चित्रवर्तनया क्रमात्॥३२॥
Tatra daṇḍaḥ smṛto bhāgaḥ ṣaḍarāmalasārakaḥ|
Sutīkṣṇāgraḥ suraktābhaḥ kṣaṇādāveśakārakaḥ||30||
Yā sā kuṇḍalinī devī taraṅgākhyā mahormiṇī|
Sā ṣaḍaśreṇa kandākhye sthitā ṣaḍdevatātmikā||31||
Aṣṭabhāgaiśca vistīrṇo dīrghaścāpi tadardhataḥ|
Tato dvārāṇi kāryāṇi citravartanayā kramāt||32||
There (tatra), the staff (daṇḍaḥ) is said to be (smṛtaḥ) a portion --I am translating literally what I am reading; for an explanation in detail, read Jayaratha's commentary-- (bhāgaḥ). (The tip) has six spokes (and) an amalasāraka --lit. the pure pith-- (ṣaṭ-ara-āmala-sārakaḥ). (This) tip is very sharp (sutīkṣṇa-agraḥ), has a beautiful red appearance (su-raktābhaḥ), (and) produces penetration (āveśa-kārakaḥ) at once (kṣaṇāt). She, (sā) who (yā) (is) the Goddess (devī) Kuṇḍalinī (kuṇḍalinī), (is) the One who is like a Great Wave (mahā-ūrmiṇī) known as Taraṅgā (taraṅgā-ākhyā). She (sā) remains (sthitā) in (the portion) called Kanda (kanda-ākhye), has six corners --i.e. She is hexagonal-- (ṣaṭ-aśreṇa), (and) consists of six deities (ṣaṭ-devatā-ātmikā). (The āmalasāraka) is eight portions wide (aṣṭa-bhāgaiḥ ca vistīrṇaḥ), and (ca api) half of that long (dīrghaḥ... tad-ardhatas). Afterward (tatas), the doors (dvārāṇi) are to be respectively made (kāryāṇi... kramāt) by application of a variety of color (citra-vartanayā)||30-32||
Stanzas 33 to 52
वेदाश्रायतरूपाणि यदि वा वृत्तमात्रतः।
स्पष्टशृङ्गमथो कुर्याद्यदि वा वैपरीत्यतः॥३३॥
उन्मुखं चन्द्रयुग्मं वा भङ्क्त्वा कुर्याच्चतुष्टयम्।
कुटिलो मध्यतः स्पष्टोऽधोमुखः पार्श्वगः स्थितः॥३४॥
उत्तानोऽर्धोऽसमः पूर्णः श्लिष्टो ग्रन्थिगतस्तथा।
चन्द्रस्येत्थं द्वादशधा वर्तना भ्रमभेदिनी॥३५॥
अन्तर्बहिर्मुखत्वेन सा पुनर्द्विविधा मता।
तद्भेदान्मण्डलानां स्यादसङ्ख्यो भेदविस्तरः॥३६॥
पीठवीथीबहिर्भूमिकण्ठकर्णकपोलतः।
शोभोपशोभासम्भेदाद्गुणरेखाविकल्पतः॥३७॥
स्वस्तिकद्वितयाद्यष्टतया पर्यन्तभेदतः।
भावाभावविकल्पेन मण्डलानामनन्तता॥३८॥
ततो रजांसि देयानि यथाशोभानुसारतः।
सिन्दूरं राजवर्तं च खटिका च सितोत्तमा॥३९॥
उत्तमानि रजांसीह देवतात्रययोगतः।
परा चन्द्रसमप्रख्या रक्ता देवी परापरा॥४०॥
अपरा सा परा काली भीषणा चण्डयोगिनी।
दृष्ट्वैतन्मण्डलं देव्यः सर्वा नृत्यन्ति सर्वदा॥४१॥
अनर्चितेऽप्यदीक्षेण दृष्टे दीक्ष्येत मातृभिः।
किंवातिबहुनोक्तेन त्रित्रिशूलारसप्तकाः॥४२॥
शूलयागाः षट् सहस्राण्येवं सार्धशतद्वयम्।
या सा देवी परा शक्तिः प्राणवाहा व्यवस्थिता॥४३॥
विश्वान्तः कुण्डलाकारा सा साक्षादत्र वर्तिता।
तत्त्वानि तत्त्वदेव्यश्च विश्वमस्मिन्प्रतिष्ठितम्॥४४॥
अत्रोर्ध्वे तन्तुमात्रेण तिस्रः शूलारगाः स्थिताः।
आसनत्वेन चेच्छाद्या भोगमोक्षप्रसाधिकाः॥४५॥
तास्तु मोक्षैककामस्य शूलारविद्धमध्यकाः।
तस्मादेनं महायागं महाविभवविस्तरैः॥४६॥
पूजयेद्भूतिकामो वा मोक्षकामोऽपि वा बुधः।
अस्य दर्शनमात्रेण भूतवेतालगुह्यकाः॥४७॥
पलायन्ते दश दिशः शिवः साक्षात्प्रसीदति।
मन्दशक्तिबलाविद्धोऽप्येतन्मण्डलपूजनात्॥४८॥
सततं मासषट्केन त्रिकज्ञानं समश्नुते।
यत्प्राप्य हेयोपादेयं स्वयमेव विचार्य सः॥४९॥
देहान्ते स्याद्भैरवात्मा सिद्धिकामोऽथ सिध्यति।
मण्डलस्यास्य यो व्याप्तिं देवतान्यासमेव च॥५०॥
वर्तनां च विजानाति स गुरुस्त्रिकशासने।
तस्य पादरजो मूर्ध्नि धार्यं शिवसमीहिना॥५१॥
अत्र सृष्टिस्थितिध्वंसान्क्रमात्त्रीनपि पूजयेत्।
तुर्यं तु मध्यतो यद्वा सर्वेषु परिपूरकम्॥५२॥
Vedāśrāyatarūpāṇi yadi vā vṛttamātrataḥ|
Spaṣṭaśṛṅgamatho kuryādyadi vā vaiparītyataḥ||33||
Unmukhaṁ candrayugmaṁ vā bhaṅktvā kuryāccatuṣṭayam|
Kuṭilo madhyataḥ spaṣṭo'dhomukhaḥ pārśvagaḥ sthitaḥ||34||
Uttāno'rdho'samaḥ pūrṇaḥ śliṣṭo granthigatastathā|
Candrasyetthaṁ dvādaśadhā vartanā bhramabhedinī||35||
Antarbahirmukhatvena sā punardvividhā matā|
Tadbhedānmaṇḍalānāṁ syādasaṅkhyo bhedavistaraḥ||36||
Pīṭhavīthībahirbhūmikaṇṭhakarṇakapolataḥ|
Śobhopaśobhāsambhedādguṇarekhāvikalpataḥ||37||
Svastikadvitayādyaṣṭatayā paryantabhedataḥ|
Bhāvābhāvavikalpena maṇḍalānāmanantatā||38||
Tato rajāṁsi deyāni yathāśobhānusārataḥ|
Sindūraṁ rājavartaṁ ca khaṭikā ca sitottamā||39||
Uttamāni rajāṁsīha devatātrayayogataḥ|
Parā candrasamaprakhyā raktā devī parāparā||40||
Aparā sā parā kālī bhīṣaṇā caṇḍayoginī|
Dṛṣṭvaitanmaṇḍalaṁ devyaḥ sarvā nṛtyanti sarvadā||41||
Anarcite'pyadīkṣeṇa dṛṣṭe dīkṣyeta mātṛbhiḥ|
Kiṁvātibahunoktena tritriśūlārasaptakāḥ||42||
Śūlayāgāḥ ṣaṭ sahasrāṇyevaṁ sārdhaśatadvayam|
Yā sā devī parā śaktiḥ prāṇavāhā vyavasthitā||43||
Viśvāntaḥ kuṇḍalākārā sā sākṣādatra vartitā|
Tattvāni tattvadevyaśca viśvamasminpratiṣṭhitam||44||
Atrordhve tantumātreṇa tisraḥ śūlāragāḥ sthitāḥ|
Āsanatvena cecchādyā bhogamokṣaprasādhikāḥ||45||
Tāstu mokṣaikakāmasya śūlāraviddhamadhyakāḥ|
Tasmādenaṁ mahāyāgaṁ mahāvibhavavistaraiḥ||46||
Pūjayedbhūtikāmo vā mokṣakāmo'pi vā budhaḥ|
Asya darśanamātreṇa bhūtavetālaguhyakāḥ||47||
Palāyante daśa diśaḥ śivaḥ sākṣātprasīdati|
Mandaśaktibalāviddho'pyetanmaṇḍalapūjanāt||48||
Satataṁ māsaṣaṭkena trikajñānaṁ samaśnute|
Yatprāpya heyopādeyaṁ svayameva vicārya saḥ||49||
Dehānte syādbhairavātmā siddhikāmo'tha sidhyati|
Maṇḍalasyāsya yo vyāptiṁ devatānyāsameva ca||50||
Vartanāṁ ca vijānāti sa gurustrikaśāsane|
Tasya pādarajo mūrdhni dhāryaṁ śivasamīhinā||51||
Atra sṛṣṭisthitidhvaṁsānkramāttrīnapi pūjayet|
Turyaṁ tu madhyato yadvā sarveṣu paripūrakam||52||
The oblong forms (of the doors) are quadrangular (vedāśra-āyata-rūpāṇi), or else (yadi vā) just rounded (vṛtta-mātrataḥ).
Now (atho), he should make (kuryāt) a clear prong (paṣṭa-śṛṅgam), or else (yadi vā) in the opposite way (vaiparītyatas). Or (vā), after dividing (bhaṅktvā) the couple of moons (candra-yugmam) facing upward (unmukham), he should make (kuryāt) a group of four (catuṣṭayam). (The moon might be) curved/bent (kuṭilaḥ) in the center (madhyatas), clear (spaṣṭaḥ), facing downward (adhomukhaḥ), residing on the sides (pārśva-gaḥ), remaining with the face upward (sthitaḥ... uttānaḥ), with unequal halves (ardhaḥ asamaḥ), (or it might also be) full (pūrṇaḥ), (with its portions) joined together (śliṣṭaḥ), as well as (tathā) situated in the knot (granthi-gataḥ). In this way (ittham), the drawing (vartanā), which is related to the division created by the rotation (of the thread) (bhrama-bhedinī), is of twelve kinds (dvādaśadhā). On the other hand (punar), it --viz. the drawing-- (sā) is considered (matā) to be twofold (dvividhā) in accordance with (the prongs) facing inward or outward (antar-bahirmukhatvena).
The extension/multitude of varieties (bheda-vistaraḥ) of maṇḍala-s (maṇḍalānām) is (syāt) countless (asaṅkhyaḥ) due to those differences (tad-bhedāt), (and also) due to seat, vīthi --lit. "row", if this makes any sense--, external ground, throat, ears and cheek (pīṭha-vīthī-bahis-bhūmi-kaṇṭha-karṇa-kapolatas). (Likewise,) due to the different main and secondary ornaments --anyway, literally I read "since the main and secondary ornaments are not different", which is meaningless in this context-- (śobha-upaśobha-asambhedāt), (and also) due to the variations in the subordinate lines (guṇa-rekhā-vikalpatas). (Moreover,) the infinity (anantatā) of maṇḍala-s (maṇḍalānām) is because of the different varieties of svastika-s starting with two and ending in eight (svastika-dvitaya-ādi-aṣṭatayā paryanta-bhedatas), (and) because of the present and absent variations (bhāva-abhāva-vikalpena). Next (tatas), colored powders (rajāṁsi) are to be given/offered (deyāni) in order to make it beautiful/splendid --very strange Sanskrit here, OK, it is Abhinavagupta-- (yathā-śobha-anusāratas). Red lead (sindūram), blue/black --but I am not sure-- (rājavartam), and (ca... ca) the whitest chalk (khaṭikā... sita-uttamā)... the best (uttamā) colored powders (rajāṁsi) (are) here (iha) suitable for the triad of deities (devatā-traya-yogatas): Parā (parā) resembles the moon --so, She is white-- (candra-samaprakhyā). The Goddess (devī) Parāparā (parāparā) (is) red (raktā). The other (Goddess) (parā) (is) Aparā (aparā sā) (who) is the black (kālī) (and) formidable (bhīṣaṇā) Caṇḍayoginī --lit. fierce, violent, etc. Yoginī-- (caṇḍayoginī).
After seeing (dṛṣṭvā) this (etad) maṇḍala (maṇḍala), all (sarvāḥ) the Goddesses (devyaḥ) always (sarvadā) dance (nṛtyanti). Even if (api) it is not worshiped (an-arcite), when it is seen (dṛṣṭe) by someone who has not been initiated (adīkṣeṇa), (that person) would be initiated (dīkṣyeta) by the Mothers (mātṛbhiḥ).
Or (vā) what is the point of speaking very much (kim... atibahunā uktena)? The trident maṇḍala-s --"yāga" has to mean here "maṇḍala" or the phrase makes no sense-- (śūla-yāgāḥ) containing three tridents and seven spokes (tri-triśūla-ara-saptakāḥ) (are) six thousand (ṣaṭ sahasrāṇi). Thus (evam), the two hundred and fifty (maṇḍala-s mentioned before) (sa-ardha-śata-dvayam) (multiplied by 24 equals 6000).
The Goddess (sā devī) who (yā) (is) the Supreme (parā) Power (śaktiḥ), the vehicle for the vital energy (prāṇa-vāhā), who remains (vyavasthitā) within all (viśva-antar), whose form is (like that of) an earring (kuṇḍala-ākārā)... She (sā) is caused to be (vartitā) here (atra) in person (sākṣāt). The tattva-s or categories (tattvāni) and (ca) the goddesses of the tattva-s (tattva-devyaḥ), i.e. the universe --all that exists-- (viśvam) is established (pratiṣṭhitam) in this (asmin).
Up (ūrdhve) here (atra), as merely a thread (tantu-mātreṇa), three (tisraḥ) (goddesses) remain (sthitāḥ) as the Seat (āsanatvena ca), residing on the spokes of the trident (śūla-ara-gāḥ). (These three goddesses) start with Will (icchā-ādyāḥ), (and) accomplish worldly enjoyment and Liberation (bhoga-mokṣa-prasādhikāḥ). But (tu) they (tāḥ) are penetrated in the middle by the spokes of the trident (śūla-ara-viddha-madhyakāḥ) for someone whose sole desire is Liberation (mokṣa-eka-kāmasya). Therefore (tasmāt), the wise person (budhaḥ) —whether his desire is worldly enjoyment (bhūti-kāmaḥ) or (vā... vā) even if (api) his desire is Liberation (mokṣa-kāmaḥ)— should worship (pūjayet) this (enam) Great Yāga --"yāga" cannot mean here "sacrifice" but "maṇḍala" or even "pantheon"-- (mahā-yāgam) with a big amount of money (mahā-vibhava-vistaraiḥ). By merely seeing it --i.e. by merely seeing this maṇḍala-- (asya darśana-mātreṇa), Bhūta-s, Vetāla-s and Guhyaka-s --malignant beings-- (bhūta-vetāla-guhyakāḥ) run away (palāyante) in the ten directions (daśa diśaḥ), (and) Śiva (śivaḥ) in person (sākṣāt) becomes pleased and propitious (prasīdati). By constantly worshiping this maṇḍala (etad-maṇḍala-pūjanāt... satatam), even (api) someone who has not been penetrated by (even) a weak Śaktipāta --Grace bestowal-- (manda-śakti-bala-aviddhaḥ) attains (samaśnute) knowledge about Trika (trika-jñānam) in six months (māsa-ṣaṭkena). Having attained and investigated (prāpya... vicārya) by himself (svayam eva) that which (yad) is to be accepted and abandoned (heya-upādeyam), he (saḥ), at the end of the body (deha-ante), becomes Bhairava (syāt bhairava-ātmā), and (atha) someone desiring siddhi-s or accomplishments (siddhi-kāmaḥ) is successful (in getting them) (sidhyati).
He (saḥ) who (yaḥ) knows (vijānāti) the pervasion (vyāptim) of this maṇḍala (maṇḍalasya asya), the nyāsa of the deities (devatānyāsam eva), and (ca... ca) (its) drawing (vartanām), (is) a Guru (guruḥ) with reference to the Trika system (trika-śāsane). The dust of his feet (tasya pāda-rajas) is to be borne (dhāryam) on his head (mūrdhni) by someone who strives after/longs for Śiva (śiva-samīhinā). Here (atra), he should also progressively worship (kramāt... api pūjayet) the three (trīn) (acts of) manifestation, maintenance and destruction (sṛṣṭi-sthiti-dhvaṁsān), (and) Turya --viz. the Fourth one-- (turyam tu) in the center (madhyatas). Or else (yad vā), (he should worship) the Paripūraka --lit. the One who causes fullness-- (paripūrakam) (residing) in everyone (sarveṣu)||33-52||
Stanzas 53 to 61
चतुस्त्रिशूलं वा गुप्तदण्डं यागं समाचरेत्।
तत्र तत् पूजयेत्सम्यक्स्फुटं क्रमचतुष्टयम्॥५३॥
Catustriśūlaṁ vā guptadaṇḍaṁ yāgaṁ samācaret|
Tatra tat pūjayetsamyaksphuṭaṁ kramacatuṣṭayam||53||
Optionally (vā), he should resort to (samācaret) a maṇḍala (yāgam) containing four tridents (catur-triśūlam), (and) with the staff hidden (gupta-daṇḍam). There (tatra), he should worship (pūjayet), properly (samyak) (and) clearly (sphuṭam), that (tad) group of four processes (krama-catuṣṭayam)||53||
इत्येतत्कथितं गुप्ते षडर्धहृदये परे।
षट्के प्रोक्तं सूचितं श्रीसिद्धयोगीश्वरीमते॥५४॥
अग्रतः सूत्रयित्वा तु मण्डलं सर्वकामदम्।
महाशूलसमोपेतं पद्मचक्रादिभूषितम्॥५५॥
द्वारे द्वारे लिखेच्छूलं वर्जयित्वा तु पश्चिमम्।
कोणेष्वपि च वा कार्यं महाशूलं द्रुमान्वितम्॥५६॥
अमृताम्भोद्भवारीणां शूलाग्रे तु त्रिकं त्रिकम्।
शूल इत्थं प्रकर्तव्यमष्टधा तत् त्रिधापि वा॥५७॥
एवं संसूचितं दिव्यं खेचरीणां पुरं त्विति।
स्थानान्तरेऽपि कथितं श्रीसिद्धातन्त्रशासने॥५८॥
कजं मध्ये तदर्धेन शूलशृङ्गाणि तानि तु।
शूलाङ्कं मण्डलं कल्प्यं कमलाङ्कं च पूरणे॥५९॥
अथ शूलाब्जविन्यासः श्रीपूर्वे त्रिशिरोमते।
सिद्धातन्त्रे त्रिककुले देव्यायामलमालयोः॥६०॥
यथोक्तः सारशास्त्रे च तन्त्रसद्भावगुह्ययोः।
तथा प्रदर्श्यते स्पष्टं यद्यप्युक्तक्रमात्कृतः॥६१॥
Ityetatkathitaṁ gupte ṣaḍardhahṛdaye pare|
Ṣaṭke proktaṁ sūcitaṁ śrīsiddhayogīśvarīmate||54||
Agrataḥ sūtrayitvā tu maṇḍalaṁ sarvakāmadam|
Mahāśūlasamopetaṁ padmacakrādibhūṣitam||55||
Dvāre dvāre likhecchūlaṁ varjayitvā tu paścimam|
Koṇeṣvapi ca vā kāryaṁ mahāśūlaṁ drumānvitam||56||
Amṛtāmbhodbhavārīṇāṁ śūlāgre tu trikaṁ trikam|
Śūla itthaṁ prakartavyamaṣṭadhā tat tridhāpi vā||57||
Evaṁ saṁsūcitaṁ divyaṁ khecarīṇāṁ puraṁ tviti|
Sthānāntare'pi kathitaṁ śrīsiddhātantraśāsane||58||
Kajaṁ madhye tadardhena śūlaśṛṅgāṇi tāni tu|
Śūlāṅkaṁ maṇḍalaṁ kalpyaṁ kamalāṅkaṁ ca pūraṇe||59||
Atha śūlābjavinyāsaḥ śrīpūrve triśiromate|
Siddhātantre trikakule devyāyāmalamālayoḥ||60||
Yathoktaḥ sāraśāstre ca tantrasadbhāvaguhyayoḥ|
Tathā pradarśyate spaṣṭaṁ yadyapyuktakramātkṛtaḥ||61||
Thus (iti), this (etad) which has been described (kathitam) is mentioned (proktam) in the hidden and supreme Ṣaḍardhahṛdaya containing six (thousand stanzas) (gupte ṣaḍardhahṛdaye pare... ṣaṭke), (and) pointed out (sūcitam) in the venerable Siddhayogīśvarīmata (śrī-siddhayogīśvarīmate): "After drawing firstly by means of a thread (agratas sūtrayitvā tu) a maṇḍala (maṇḍalam) that grants all desires (sarva-kāma-dam), endowed with a great trident (mahā-śūla-samopetam) (and) adorned with lotuses, wheels, etc. (padma-cakra-ādi-bhūṣitam), he should trace (likhet) a trident (śūlam) in each door (dvāre dvāre), with the exception of the western one (varjayitvā tu paścimam). Optionally (vā), a great trident (mahā-śūlam) accompanied by a tree (druma-anvitam) is to be created (kāryam) in the corners (koṇeṣu) as well (api ca). (The group of lotuses) of the spokes springing from the Ocean of Nectar (amṛta-ambha-udbhava-arīṇām) in sets of three (trikam trikam) on the tip of the trident (śūla-agre tu) is to be thus created (ittham prakartavyam) on the trident (śūle), (or else,) eight times (aṣṭadhā) that (tad), or (vā) even (api) three times (tridhā). Thus (evam), the divine (divyam) abode (puram tu) of the Khecarī-s (khecarīṇām) has been indicated (saṁsūcitam... iti)".
(This very thing) has been also mentioned (api kathitam) in another place (sthāna-antare), viz. in the venerable Siddhātantra (śrī-siddhātantraśāsane).
"(In the first kind of maṇḍala, there is a) lotus (kajam) in the center (madhye), but (tu) (in the other kind of maṇḍala,) the prongs of the trident (śūla-śṛṅgāṇi tāni) are half (the size) of that (tad-ardhena). (This would be) the maṇḍala (maṇḍalam) whose mark is a trident (śūla-aṅkam). In order to complete (it) (pūraṇe), (a maṇḍala) whose mark is a lotus (kamala-aṅkam ca) is to be conceived (kalpyam)".
Now (atha), the placement of lotuses and tridents (śūla-abja-vinyāsaḥ) in the venerable Mālinīvijayottara (śrī-pūrve), in the Triśiromata (triśiromate), in the Siddhātantra (siddhātantre), in the Trikakula (trikakule), (and) in both the Devyāyāmala and the Mālā (devyāyāmala-mālayoḥ) (will be exhibited). Even if (yadi api) (that very thing --i.e. the placement of lotuses and tridents--) has (already) performed (kṛtaḥ) through the aforesaid procedure (ukta-kramāt) such as (yathā) it is described (uktaḥ) in the Sāra (sāraśāstre ca), so also (tathā) (the procedure) occurring in Tantrasadbhāva and Guhya (tantrasadbhāva-guhyayoḥ) is clearly shown (here) (pradarśyate spaṣṭam)||54-61||
Stanzas 62 to 78
वेदाश्रिते त्रिहस्ते प्राक्पूर्वमर्ध विभाजयेत्।
हस्तार्धं सर्वतस्त्यक्त्वा पूर्वोदग्याम्यदिग्गतम्॥६२॥
त्र्यङ्गुलैः कोष्ठकैरूर्ध्वैस्तिर्यक्चाष्टद्विधात्मकैः।
द्वौ द्वौ भागौ परित्यज्य पुनर्दक्षिणसौम्यगौ॥६३॥
Vedāśrite trihaste prākpūrvamardhaṁ vibhājayet|
Hastārdhaṁ sarvatastyaktvā pūrvodagyāmyadiggatam||62||
Tryaṅgulaiḥ koṣṭhakairūrdhvaistiryakcāṣṭadvidhātmakaiḥ|
Dvau dvau bhāgau parityajya punardakṣiṇasaumyagau||63||
Firstly (prāk), he should divide (vibhājayet) the eastern (pūrvam) half (ardham) in a square whose measure is three hands (vedāśrite tri-haste). After leaving (tyaktvā) half a handspan (hasta-ardham) in every direction (sarvatas) —east, north and south (pūrva-udak-yāmya-dik-gatam)—, (all the remaining area is divided) by sixteen squares whose measure is three fingers (tri-aṅgulaiḥ koṣṭhakaiḥ... aṣṭa-dvidhā-ātmakaiḥ) —located above (ūrdhvaiḥ) and (ca) transversely (tiryak)—, having discarded (parityajya) again (punar) two portions each (dvau dvau bhāgau) residing in the south and the north (dakṣiṇa-saumya-gau)||62-63||
ब्रह्मणः पार्श्वयोर्जीवाच्चतुर्थात्पूर्वतस्तथा।
भागार्धभागमानं तु खण्डचन्द्रद्वयं द्वयम्॥६४॥
Brahmaṇaḥ pārśvayorjīvāccaturthātpūrvatastathā|
Bhāgārdhabhāgamānaṁ tu khaṇḍacandradvayaṁ dvayam||64||
On both sides (pārśvayoḥ) of (the sūtra or thread of) Brahmā (brahmaṇaḥ), from the fourth living (sūtra or thread) --Jayaratha explains this in his commentary-- (jīvāt caturthāt), and (tathā) from the east (pūrvatas), (he should trace) two (dvayam) couples of half-moons (khaṇḍa-candra-dvayam) whose measures are half a portion and one portion (bhāga-ardha-bhāga-mānam tu)||64||
तयोरन्तस्तृतीये तु दक्षिणोत्तरपार्श्वयोः।
जीवे खण्डेन्दुयुगलं कुर्यादन्तर्भ्रमाद्बुधः॥६५॥
तयोरपरमर्मस्थं खण्डेन्दुद्वयकोटिगम्।
बहिर्मुखं भ्रमं कुर्यात्खण्डचन्द्रद्वयं द्वयम्॥६६॥
तद्वद्ब्रह्मणि कुर्वीत भागभागार्धसम्मितम्।
ततो द्वितीयभागान्ते ब्रह्मणः पार्श्वयोर्द्वयोः॥६७॥
द्वे रेखे पूर्वगे नेये भागत्र्यंशशमे बुधैः।
एकार्धेन्दूर्ध्वकोटिस्थं ब्रह्मसूत्राग्रसङ्गतम्॥६८॥
सूत्रद्वयं प्रकुर्वीत मध्यशृङ्गप्रसिद्धये।
तदग्रपार्श्वयोर्जीवात्सूत्रमेकान्तरे धृतम्॥६९॥
आदिद्वितीयखण्डेन्दुकोणात्कोणान्तमानयेत्।
तयोरेवापराज्जीवात्प्रथमार्धेन्दुकोणतः॥७०॥
तद्वदेव नयेत्सूत्रं शृङ्गद्वितयसिद्धये।
क्षेत्रार्धे चापरे दण्डो द्विकरश्छन्नपञ्चकः॥७१॥
षड्विस्तृतं चतुर्दीर्घं तदधोऽमलसारकम्।
वेदाङ्गुलं च तदधो मूलं तीक्ष्णाग्रमिष्यते॥७२॥
आदिक्षेत्रस्य कुर्वीत दिक्षु द्वारचतुष्टयम्।
हस्तायामं तदर्धं तु विस्तारादपि तत्समम्॥७३॥
द्विगुणं बाह्यतः कुर्यात्ततः पद्मं यथा शृणु।
एकैकभागमानानि कुर्याद्वृत्तानि वेदवत्॥७४॥
दिक्ष्वष्टौ पुनरप्यष्टौ जीवसूत्राणि षोडश।
द्वयोर्द्वयोः पुनर्मध्ये तत्सङ्ख्यातानि पातयेत्॥७५॥
एषां तृतीयवृत्तस्थं पार्श्वजीवसमं भ्रमम्।
एतदन्तं प्रकुर्वीत ततो जीवाग्रमानयेत्॥७६॥
यत्रैव कुत्रचित्सङ्गस्तत्सम्बन्धे स्थिरीकृते।
तत्र कृत्वा नयेन्मन्त्री पत्राग्राणां प्रसिद्धये॥७७॥
एकैकस्मिन्दले कुर्यात्केसराणां त्रयं त्रयम्।
द्विगुणाष्टाङ्गुलं कार्यं तद्वच्छृङ्गकजत्रयम्॥७८॥
Tayorantastṛtīye tu dakṣiṇottarapārśvayoḥ|
Jīve khaṇḍenduyugalaṁ kuryādantarbhramādbudhaḥ||65||
Tayoraparamarmasthaṁ khaṇḍendudvayakoṭigam|
Bahirmukhaṁ bhramaṁ kuryātkhaṇḍacandradvayaṁ dvayam||66||
Tadvadbrahmaṇi kurvīta bhāgabhāgārdhasammitam|
Tato dvitīyabhāgānte brahmaṇaḥ pārśvayordvayoḥ||67||
Dve rekhe pūrvage neye bhāgatryaṁśaśame budhaiḥ|
Ekārdhendūrdhvakoṭisthaṁ brahmasūtrāgrasaṅgatam||68||
Sūtradvayaṁ prakurvīta madhyaśṛṅgaprasiddhaye|
Tadagrapārśvayorjīvātsūtramekāntare dhṛtam||69||
Ādidvitīyakhaṇḍendukoṇātkoṇāntamānayet|
Tayorevāparājjīvātprathamārdhendukoṇataḥ||70||
Tadvadeva nayetsūtraṁ śṛṅgadvitayasiddhaye|
Kṣetrārdhe cāpare daṇḍo dvikaraśchannapañcakaḥ||71||
Ṣaḍvistṛtaṁ caturdīrghaṁ tadadho'malasārakam|
Vedāṅgulaṁ ca tadadho mūlaṁ tīkṣṇāgramiṣyate||72||
Ādikṣetrasya kurvīta dikṣu dvāracatuṣṭayam|
Hastāyāmaṁ tadardhaṁ tu vistārādapi tatsamam||73||
Dviguṇaṁ bāhyataḥ kuryāttataḥ padmaṁ yathā śṛṇu|
Ekaikabhāgamānāni kuryādvṛttāni vedavat||74||
Dikṣvaṣṭau punarapyaṣṭau jīvasūtrāṇi ṣoḍaśa|
Dvayordvayoḥ punarmadhye tatsaṅkhyātāni pātayet||75||
Eṣāṁ tṛtīyavṛttasthaṁ pārśvajīvasamaṁ bhramam|
Etadantaṁ prakurvīta tato jīvāgramānayet||76||
Yatraiva kutracitsaṅgastatsambandhe sthirīkṛte|
Tatra kṛtvā nayenmantrī patrāgrāṇāṁ prasiddhaye||77||
Ekaikasmindale kuryātkesarāṇāṁ trayaṁ trayam|
Dviguṇāṣṭāṅgulaṁ kāryaṁ tadvacchṛṅgakajatrayam||78||
Between (antar) those two (tayoḥ), on the third living thread (tṛtīye tu... jīve), on the southern and northern sides (dakṣiṇa-uttara-pārśvayoḥ), the wise person (budhaḥ) should make (kuryāt) a couple of half-moons (khaṇḍa-indu-yugalam) through a rotation (of the thread) toward the inside (antar-bhramāt). (Next,) he should make (kuryāt), (through) a circular motion (bhramam), (other) two (dvayam) couples of half-moons (khaṇḍa-candra-dvayam) facing outward (bahis-mukham), situated in another juncture (apara-marma-stham) of those two (tayoḥ), in the horns or cusps of the couple of half-moons (khaṇḍa-indu-dvaya-koṭi-gam). Likewise (tadvat), he should make (kurvīta) (another couple of half-moons) whose measure is one portion and half a portion (bhāga-bhāga-ardha-sammitam) on the Brahmā's thread (brahmaṇi).
After that (tatas), at the end of the second portion (dvitīya-bhāga-ante), on both sides (pārśvayoḥ dvayoḥ) of the Brahmā's thread (brahmaṇaḥ), two lines (dve rekhe) residing in the east (pūrva-ge) are to be brought (neye) by the wise (budhaiḥ) into a repose (at a distance) of the third part of a portion (bhāga-tri-aṁśa-śame). To successfully get a prong in the middle (madhya-śṛṅga-prasiddhaye), he should make (prakurvīta) a couple of threads (sūtra-dvayam) located in the upper horns or cusps of one of the half-moons (eka-ardha-indu-ūrdhva-koṭi-stham) to join at the (other) end with the Brahmā's thread (brahma-sūtra-agra-saṅgatam) --this is what I read, but maybe it is nonsensical in practice since I am not actually drawing this maṇḍala (I am not a draftsman, and I do not want to be one); in my opinion, it is a mistake by Abhinavagupta to give written instructions to draw maṇḍala-s; it would have been much more practical and didactic to show the steps through a series of diagrams instead of through these cryptic instructions that are very likely throwing most translators into an unfathomable ocean of uncertainty--.
A thread (sūtram) (is) held (dhṛtam) at a distance of one (eka-antare) from the living thread (jīvāt) on both sides in front of that (prong in the center) (tad-agra-pārśvayoḥ). He should bring (it) (ānayet) from the corner of the second of the first half-moons (ādi-dvitīya-khaṇḍa-indu-koṇāt) up to the (last) corner (koṇa-antam). In order to succeed (creating) the two prongs (śṛṅga-dvitaya-siddhaye), he should likewise bring (tadvat eva nayet) a thread (sūtram) from the living thread other than those two (tayoḥ eva aparāt jīvāt), (beginning) from the corner of the first half-moon (prathama-ardha-indu-koṇatas).
The staff (daṇḍaḥ) (residing) in the other half of the area (kṣetra-ardhe ca apare), whose (measure) is two hands (dvi-karaḥ), has five (squares) covered (channa-pañcakaḥ). The amalasāraka --lit. pure pith-- (amalasārakam) beneath that (tad-adhas) is six (fingers) wide (ṣaṭ-vistṛtam) (and) four (fingers) long (catur-dīrgham). The root (mūlam) beneath that (tad-adhas) is four fingers (wide) (veda-aṅgulam ca), (and) is regarded (iṣyate) as a sharp tip (tīkṣṇa-agram). In the quarters (dikṣu) of the first area (ādi-kṣetrasya), he should make (kurvīta) a set of four doors (dvāra-catuṣṭayam) extending for the measure of one hand (hasta-āyāmam), (and) half that (tad-ardham tu). The breadth is the same as that (vistārāt api tad-samam) --far-fetched Sanskrit really--. He should make (kuryāt) twice that (dviguṇam) externally (bāhyatas). Afterward (tatas), listen (śṛṇu) to the lotus (padmam) properly (yathā). (Now,) he should make (kuryāt) four circles --lit. circles like the Veda-s-- (vṛttāni veda-vat), each of which measures one portion more than the previous one (eka-eka-bhāga-mānāni) --I am translating blindly, because I am not a draftsman, good luck understanding that mess--. Sixteen (ṣoḍaśa) living threads (jīva-sūtrāṇi) —eight (aṣṭau) in the (different) directions (dikṣu), and also (api) (other) eight (aṣṭau) again (punar)—. He should throw (pātayet) that number (tad-saṅkhyātāni) again (punar) between each couple (dvayoḥ dvayoḥ... madhye). Among these (threads) (eṣām), he should rotate (bhramam... prakurvīta) (the thread) remaining in the third circle (tṛtīya-vṛtta-stham), which has the same size as the lateral living threads (pārśva-jīva-samam), (and) ends with this (etad-antam). After that (tatas), he should bring (ānayet) the tip of the living thread (jīva-agram) to wherever (yatra eva kutracid) (there is) a union (saṅgaḥ). When the connection with that has been made firm (tad-sambandhe sthirī-kṛte), after placing (kṛtvā) (his hand) there (tatra), the Mantrī --i.e. the one repeating Mantra-s-- (mantrī) should bring (nayet) (the thread) for being successful (prasiddhaye) (in the creation) of the tips of the petals/leaves (patra-agrāṇām). He should make (kuryāt) each of the groups of three (trayam trayam) filaments (kesarāṇām) in each of the petals (eka-ekasmin dale). The triad of lotuses of the prongs (śṛṅga-kaja-trayam), whose measure is sixteen fingers (dviguṇa-aṣṭa-aṅgulam), is to be made (kāryam) in the same manner (tadvat)||65-78||
Stanzas 79 to 90
कर्णिका पीतवर्णेन मूलमध्याग्रभेदतः।
सितं रक्तं तथा पीतं कार्यं केसरजालकम्॥७९॥
दलानि शुक्लवर्णानि प्रतिवारणया सह।
पीठं तद्वच्चतुष्कोणं कर्णिकार्धसमं बहिः॥८०॥
सितरक्तपीतकृष्णैस्तत्पादान्वह्नितः क्रमात्।
चतुर्भिरपि शृङ्गाणि त्रिभिर्मण्डलमिष्यते॥८१॥
दण्डः स्यान्नीलरक्तेन पीतमामलसारकम्।
रक्तं मूलं प्रकुर्वीत यत्तत्पूर्वं प्रकल्पितम्॥८२॥
पश्चाद्द्वारस्य पूर्वेण त्यक्त्वाङ्गुलचतुष्टयम्।
द्वारं वेदाश्रि वृत्तं वा सङ्कीर्णं वा विचित्रितम्॥८३॥
एकद्वित्रिपुरं तुल्यं सामुद्गमथवोभयम्।
कपोलकण्ठशोभोपशोभादिबहुचित्रितम्॥८४॥
विचित्राकारसंस्थानं वल्लीसूक्ष्मगृहान्वितम्।
श्रीदेव्यायामले तूक्तं क्षेत्रे वेदाश्रिते सति॥८५॥
अर्धं द्वादशधा कृत्वा तिर्यगूर्ध्वं च तिर्यजम्।
भागमेकं स्वपार्श्वोर्ध्वं गुरुः समवतारयेत्॥८६॥
मध्यस्थं तं त्रिभागं च तदन्ते भ्रामयेदुभौ।
भागमेकं परित्यज्य तन्मध्ये भ्रामयेत्पुनः॥८७॥
तृतीयांशोर्ध्वतो भ्राम्यमूर्ध्वांशं यावदन्ततः।
चतुर्थांशात्तदूर्ध्वं तु ऊर्ध्वाधो योजयेत्पुनः॥८८॥
तन्मानादूर्ध्वमाभ्राम्य चतुर्थेन नियोजयेत्।
ऊर्ध्वाद्योजयते सूत्रं ब्रह्मसूत्रावधि क्रमात्॥८९॥
क्रमाद्वैपुल्यतः कृत्वांशं वै ह्रासयेत्पुनः।
अर्धभागप्रमाणस्तु दण्डो द्विगुण इष्यते॥९०॥
Karṇikā pītavarṇena mūlamadhyāgrabhedataḥ|
Sitaṁ raktaṁ tathā pītaṁ kāryaṁ kesarajālakam||79||
Dalāni śuklavarṇāni prativāraṇayā saha|
Pīṭhaṁ tadvaccatuṣkoṇaṁ karṇikārdhasamaṁ bahiḥ||80||
Sitaraktapītakṛṣṇaistatpādānvahnitaḥ kramāt|
Caturbhirapi śṛṅgāṇi tribhirmaṇḍalamiṣyate||81||
Daṇḍaḥ syānnīlaraktena pītamāmalasārakam|
Raktaṁ mūlaṁ prakurvīta yattatpūrvaṁ prakalpitam||82||
Paścāddvārasya pūrveṇa tyaktvāṅgulacatuṣṭayam|
Dvāraṁ vedāśri vṛttaṁ vā saṅkīrṇaṁ vā vicitritam||83||
Ekadvitripuraṁ tulyaṁ sāmudgamathavobhayam|
Kapolakaṇṭhaśobhopaśobhādibahucitritam||84||
Vicitrākārasaṁsthānaṁ vallīsūkṣmagṛhānvitam|
Śrīdevyāyāmale tūktaṁ kṣetre vedāśrite sati||85||
Ardhaṁ dvādaśadhā kṛtvā tiryagūrdhvaṁ ca tiryajam|
Bhāgamekaṁ svapārśvordhvaṁ guruḥ samavatārayet||86||
Madhyasthaṁ taṁ tribhāgaṁ ca tadante bhrāmayedubhau|
Bhāgamekaṁ parityajya tanmadhye bhrāmayetpunaḥ||87||
Tṛtīyāṁśordhvato bhrāmyamūrdhvāṁśaṁ yāvadantataḥ|
Caturthāṁśāttadūrdhvaṁ tu ūrdhvādho yojayetpunaḥ||88||
Tanmānādūrdhvamābhrāmya caturthena niyojayet|
Ūrdhvādyojayate sūtraṁ brahmasūtrāvadhi kramāt||89||
Kramādvaipulyataḥ kṛtvāṁśaṁ vai hrāsayetpunaḥ|
Ardhabhāgapramāṇastu daṇḍo dviguṇa iṣyate||90||
The pericarp (karṇikā) with yellow color (pīta-varṇena). The net of filaments (kesara-jālakam) is to be made (kāryam) white (sitam), red (raktam) and (tathā) yellow (pītam) according to the divisions of root, middle part and tip (mūla-madhya-agra-bhedatas). The petals (dalāni), together with the protective edge (prativāraṇayā saha), are white in color (śukla-varṇāni). The quadrangular (catuṣkoṇam) seat (pīṭham) (is) equally so (tadvat). (It goes) outward (bahis) (for a distance) equal to half a pericarp (karṇikā-ardha-samam). (He should) progressively (kramāt) (color) its (four) legs (tat-pādān), from the southeast --lit. from the fire-- (vahnitas) with four (colors, if you will excuse the repetition) (caturbhiḥ): White, red, yellow and black (sita-rakta-pīta-kṛṣṇaiḥ). The prongs (śṛṅgāṇi) (are to be colored) with the (same) three (colors) --i.e. white, yellow and black-- (tribhiḥ). The maṇḍala (maṇḍalam) is prescribed (to look like that) (iṣyate). The staff (daṇḍaḥ) should be (syāt) (colored) with a mixture of blue and red --i.e. purple, but I had expected to read "nīlalohitena" instead-- (nīlaraktena). He should make (prakurvīta) the āmalasāraka --a kind of bulb-- (āmalasārakam) yellow (pītam) (and) the root (mūlam) red (raktam). That (tad) which (yad) is in front --i.e. in the east-- (pūrvam) is to be formed/conceived (prakalpitam) from the west (paścāt), leaving (tyaktvā) four fingers (aṅgula-catuṣṭayam) in front (pūrveṇa) of the door (dvārasya). The door (dvāram) (is) quadrangular (vedāśri), circular (vṛttam), mixed (saṅkīrṇam), or (vā... vā) varied --lit. variegated-- (vicitritam), (with its size being) one, two or three squares --lit. abodes-- (eka-dvi-tri-puram), even (tulyam), uneven --suggested meaning, because the meaning of such a word in dictionary would sound nonsensical in this context-- (sāmudgam), or (athavā) both (ubhayam), abundantly decorated with cheeks, throats, splendid (main and) secondary (ornaments), etc. (kapola-kaṇṭha-śobha-upaśobha-ādi-bahu-citritam), with various forms and places (vicitra-ākāra-saṁsthānam), (and) furnished with a creeper and a subtle house (vallī-sūkṣma-gṛha-anvitam).
However (tu), it has been said (uktam) in the venerable Devyāyāmala (śrī-devyāyāmale) (that,) with reference to the area which is quadrangular (kṣetre vedāśrite sati), after making (it) (kṛtvā) twelfold (dvādaśadhā) horizontally (tiryak) and (ca) vertically (ūrdhvam), the Guru (guruḥ) should bring down (samavatārayet) one (ekam) horizontal (tiryajam) portion --i.e. a square-- (bhāgam) above its sides (sva-pārśva-ūrdhvam) --if this makes any sense, since I am translating blindly this confusing text--. (Now,) he should rotate (bhrāmayet) both (ubhau), that (portion or square) (tam) residing in the center (madhya-stham) and (ca) three quarters (of a portion or square) (tri-bhāgam) up to the end of that (tad-ante) --very confusing instructions indeed--. Leaving one portion aside (bhāgam ekam parityajya), he should rotate (bhrāmayet) (that thread) again (punar) in the middle of that (tad-madhye) (in order to trace two half-moons --this is explained by Jayaratha--). (Next, the thread) is caused to be rotated (bhrāmyam) (to create other two half-moons) upward, in the third portion (tṛtīya-aṁśa-ūrdhvatas), until (yāvat) (it) finally (antatas) (gets in touch) with the part above (ūrdhva-aṁśam) --it is just senselessness to give written instructions to draw maṇḍala-s; progressive drawings, stage by stage, would have been much more didactic and much less confusing--. From the fourth portion (caturtha-aṁśāt), he should join (it) (yojayet) again (punar) above that (tad-ūrdhvam tu), above and below (ūrdhva-adhas). From that measure (tad-mānāt), after rotating --very strange verb-- (ābhrāmya) upward (ūrdhvam), he should join (all that) (niyojayet) with the fourth (caturthena).
He unites (yojayate) the thread (sūtram) from above (ūrdhvāt) up to the Brahmā's thread (brahma-sūtrāvadhi), (and) after making/placing (kṛtvā) the portion (aṁśam vai), he should shorten (it) (hrāsayet) very gradually (kramāt... kramāt) again (punar) from (its original) breadth/width (vaipulyatas) --this part has a confusing Sanskrit; I did my best--. The staff (daṇḍaḥ), whose measure is half a portion (ardha-bhāga-pramāṇaḥ tu), is regarded (iṣyate) as double (dviguṇaḥ)||79-90||
Stanzas 91 to 123
भागं भागं गृहीत्वा तु उभयोरथ गोचरात्।
भ्राम्यं पिप्पलवत्पत्रं वर्तनैषा त्वधो भवेत्॥९१॥
षोडशांशे लिखेत्पद्मं द्वादशाङ्गुललोपनात्।
तदूर्ध्वं मध्यभागे तु वारिजन्म समालिखेत्॥९२॥
मध्यशृङ्गावसाने तु तृतीयं विलिखेत्ततः।
सव्यासव्ये तथैवेह कटिस्थाब्जे समालिखेत्॥९३॥
कर्णिका पीतला रक्तपीतशुक्लं च केसरम्।
दलानि पद्मबाह्यस्था शुक्ला च प्रतिवारणी॥९४॥
शूलं कृष्णेन रजसा ब्रह्मरेखा सिता पुनः।
शूलाग्रं ज्वालया युक्तं शूलदण्डस्तु पीतलः॥९५॥
शूलमध्ये च यत्पद्मं तत्रेशं पूजयेत्सदा।
अस्योर्ध्वे तु परां दक्षेऽन्यां वामे चापरां बुधः॥९६॥
Bhāgaṁ bhāgaṁ gṛhītvā tu ubhayoratha gocarāt|
Bhrāmyaṁ pippalavatpatraṁ vartanaiṣā tvadho bhavet||91||
Ṣoḍaśāṁśe likhetpadmaṁ dvādaśāṅgulalopanāt|
Tadūrdhvaṁ madhyabhāge tu vārijanma samālikhet||92||
Madhyaśṛṅgāvasāne tu tṛtīyaṁ vilikhettataḥ|
Savyāsavye tathaiveha kaṭisthābje samālikhet||93||
Karṇikā pītalā raktapītaśuklaṁ ca kesaram|
Dalāni padmabāhyasthā śuklā ca prativāraṇī||94||
Śūlaṁ kṛṣṇena rajasā brahmarekhā sitā punaḥ|
Śūlāgraṁ jvālayā yuktaṁ śūladaṇḍastu pītalaḥ||95||
Śūlamadhye ca yatpadmaṁ tatreśaṁ pūjayetsadā|
Asyordhve tu parāṁ dakṣe'nyāṁ vāme cāparāṁ budhaḥ||96||
Now (atha), after seizing (gṛhītvā tu) from the field (gocarāt) each portion (bhāgam bhāgam) from both (ubhayoḥ), (the thread) is caused to be rotated (bhrāmyam) (till it assumes the form of) a leaf (patram) like that of a holy fig-tree (pippala-vat). This (eṣā tu) is (bhavet) the drawing (vartanā) below (adhas). (After that,) he should delineate (likhet) a lotus (padmam) in (an area containing) sixteen parts (ṣoḍaśa-aṁśe) by omitting twelve fingers (dvādaśa-aṅgula-lopanāt).
He should draw (samālikhet) a lotus (vārijanma) in the middle part (madhya-bhāge tu), above that (tad-ūrdhvam). After that (tatas), he should draw (vilikhet) the third one (tṛtīyam) at the end of the central prong (madhya-śṛṅga-avasāne).
Likewise (tathā eva), on the left and on the right (savya-asavye), he should draw (samālikhet) two (more) lotuses on the surface (kaṭi-stha-abje). The pericarp (karṇikā) is yellow (pītalā), and (ca) the filament(s) (kesaram) are red, yellow and white (rakta-pīta-śuklam). The petals (dalāni) (are white in color,) and (ca) the protective edge (prativāraṇī) remaining outside the lotus (padma-bāhya-sthā) is white (śuklā) (too). The trident (śūlam) (should be painted) with black powder (kṛṣṇena rajasā), however (punar) the line of Brahmā (brahma-rekhā) is white (sitā). The tip of the trident (śūla-agram) is furnished with a flame (jvālayā yuktam), but (tu) the trident's staff (śūla-daṇḍaḥ) is yellow (pītalaḥ). And (ca) a wise person (budhaḥ) should always worship (pūjayet sadā) the Lord (īśam) residing there in the lotus (padmam tatra) which (yad) is in the center of the trident (śūla-madhye), Parā (parām) above him (asya ūrdhve tu), the other (Goddess) --viz. Parāparā-- (anyām) on the right (dakṣe), and (c) Aparā (aparām) on the left (vāme)||91-96||
या सा कालान्तका देवी परातीता व्यवस्थिता।
ग्रसते शूलचक्रं सा त्विच्छामात्रेण सर्वदा॥९७॥
Yā sā kālāntakā devī parātītā vyavasthitā|
Grasate śūlacakraṁ sā tvicchāmātreṇa sarvadā||97||
The Goddess (sā... devī) who (yā) causes the death of Time (kāla-antakā) is situated (vyavasthitā) beyond Parā (parā-atītā). She (sā tu) constantly devours (grasate... sarvadā) the wheel of the trident (śūla-cakram) at will only (icchā-mātreṇa)||97||
शान्तिरूपा कला ह्येषा विद्यारूपा परा भवेत्।
अपरा तु प्रतिष्ठा स्यान्निवृत्तिस्तु परापरा॥९८॥
भैरवं दण्ड ऊर्ध्वस्थं रूपं सादाशिवात्मकम्।
चतस्रः शक्तयस्त्वस्य स्थूलाः सूक्ष्मास्त्वनेकधा॥९९॥
Śāntirūpā kalā hyeṣā vidyārūpā parā bhavet|
Aparā tu pratiṣṭhā syānnivṛttistu parāparā||98||
Bhairavaṁ daṇḍa ūrdhvasthaṁ rūpaṁ sādāśivātmakam|
Catasraḥ śaktayastvasya sthūlāḥ sūkṣmāstvanekadhā||99||
She (eṣā) (is) the Kalā (kalā) whose nature is Peace --i.e. the Śāntakalā presiding tattva-s 3 to 5-- (śānti-rūpā). Parā (parā) is (bhavet) that (Goddess) whose nature is Vidyā --i.e. the Vidyākalā presiding the tattva-s 6 to 12-- (vidyā-rūpā). Aparā (aparā) is (syāt) Pratiṣṭhā --i.e. the Pratiṣṭhākalā presiding the tattva-s 13 to 35-- (pratiṣṭhā), (while) Nivṛtti --i.e. the Nivṛttikalā presiding the tattva 36-- (nivṛttiḥ tu) (is) Parāparā (parāparā) --I followed the original text to the letter, but according to my knowledge, it should be the opposite, viz. Parāparā is the Pratiṣṭhākalā and Aparā is the Nivṛttikalā--.
The nature of Bhairava (bhairavam... rūpam) consisting of Sadāśiva (sādāśiva-ātmakam) abides above the staff (daṇḍe ūrdhva-stham). His (asya) four (catasraḥ) powers (śaktasyaḥ tu), (both) gross (sthūlāḥ) (and) subtle (sūkṣmāḥ tu), are of many types (anekadhā)||98-99||
एष यागः समाख्यातो डामराख्यस्त्रिशक्तिकः।
अथ त्रैशिरसे शूलाब्जविधिर्दृष्टोऽभिलिख्यते॥१००॥
वामामृतादिभिर्मुख्यैः पवित्रैः सुमनोरमैः।
भूमिं रजांसि करणीं खटिकां मूलतोऽर्चयेत्॥१०१॥
चतुरश्रे चतुर्हस्ते मध्ये शूलं करत्रयम्।
दण्डो द्विहस्त ऊर्ध्वाधःपीठयुग्विपुलस्त्वसौ॥१०२॥
वस्वङ्गुलः प्रकर्तव्यः सूत्रत्रयसमन्वितः।
द्वादशाङ्गुलमानेन दण्डमूले तु पीठिका॥१०३॥
दैर्घ्यात्तूच्छ्रायाच्चोर्ध्वे च चतुरङ्गुलमानतः।
ऊर्ध्वेऽप्युच्छ्रायतो वेदाङ्गुला दैर्घ्याद्दशाङ्गुला॥१०४॥
शूलमूलगतं पीठद्वयं खाब्धिसमाङ्गुलम्।
कृत्वा दण्डं त्रिशूलं तु त्रिभिर्भागैः समन्ततः॥१०५॥
अष्टाङ्गुलप्रमाणैः स्याद्धस्तमात्रं समन्ततः।
शूलाग्रं शूलमध्यं तच्छूलमूलं तु तद्भवेत्॥१०६॥
वेदी मध्ये प्रकर्तव्या उभयोश्च षडङ्गुलम्।
द्वादशाङ्गुलदीर्घा तु उभयोः पार्श्वयोस्तथा॥१०७॥
चतुरङ्गुलमुच्छ्रायान्मूले वेदीं प्रकल्पयेत्।
उभयोः पार्श्वयोश्चैवमर्धचन्द्राकृतिं तथा॥१०८॥
भ्रामयेत्खटिकासूत्रं कटिं कुर्याद्द्विरङ्गुलाम्।
वैपुल्याद्दैर्घ्यतो देवि चतुरङ्गुलमानतः॥१०९॥
यादृशं दक्षिणे भागे वामे तद्वत्प्रकल्पयेत्।
मध्ये शूलाग्रवैपुल्यादङ्गुलश्चाधोर्ध्वतः॥११०॥
चतुरङ्गुलमानेन वैपुल्यात्तु षडङ्गुला।
उच्छ्रायात्तु ततः कार्या गण्डिका तु स्वरूपतः॥१११॥
पीठोर्ध्वे तु प्रकर्तव्यं शूलमूलं तु सुव्रते।
शूलाग्रमङ्गुलं कार्यं सुतीक्ष्णं तु षडङ्गुलम्॥११२॥
अरामध्यं प्रकर्तव्यमराधस्तु षडङ्गुलम्।
चतुरङ्गुलनिम्नं तु मध्यं तु परिकल्पयेत्॥११३॥
पूर्वापरं तदेवेह मध्ये शूलं तु तद्बहिः।
कारयेत त्रिभिः सूत्रैरेकैकं वर्तयेत च॥११४॥
कजत्रयं तु शूलाग्रं वेदांशैर्द्वादशाङ्गुलम्।
क्रमाद्दक्षान्यमध्येषु त्र्यष्टद्वादशपत्रकम्॥११५॥
चक्रत्रयं वातपुरं पद्ममष्टाङ्गुलारकम्।
विद्याभिख्यं शूलमूले रजः पश्चात्प्रपातयेत्॥११६॥
त्रिशूलं दण्डपर्यन्तं राजवर्तेन पूरयेत्।
सूत्रत्रयस्य पृष्ठे तु शुक्लं चारात्रयं भवेत्॥११७॥
शुक्लेन रजसा शूलमूले विद्याम्बुजं भवेत्।
रक्तं रक्तासितं शुक्लं क्रमादूर्ध्वाम्बुजत्रयम्॥११८॥
शुक्लेन व्योमरेखा स्यात्सा स्थौल्यादङ्गुलं बहिः।
तां त्यक्त्वा वेदिका कार्या हस्तमात्रं प्रमाणतः॥११९॥
वैपुल्यत्रिगुणं दैर्घ्यात्प्राकारं चतुरश्रकम्।
समन्ततोऽथ दिक्षु स्युर्द्वाराणि करमात्रतः॥१२०॥
त्रिधा विभज्य क्रमशो द्वादशाङ्गुलमानतः।
कण्ठं कपोलं शोभां तु उपशोभां तदन्ततः॥१२१॥
प्राकारं चतुरश्रं तु सभूरेखासमन्वितम्।
सितरक्तपीतकृष्णै रजोभिः कारयेत्ततः॥१२२॥
रक्तै रजोभिर्मध्यं तु यथाशोभं तु पूरयेत्।
अस्य व्याप्तौ पुरा चोक्तं तत्रैवानुसरेच्च तत्॥१२३॥
Eṣa yāgaḥ samākhyāto ḍāmarākhyastriśaktikaḥ|
Atha traiśirase śūlābjavidhirdṛṣṭo'bhilikhyate||100||
Vāmāmṛtādibhirmukhyaiḥ pavitraiḥ sumanoramaiḥ|
Bhūmiṁ rajāṁsi karaṇīṁ khaṭikāṁ mūlato'rcayet||101||
Caturaśre caturhaste madhye śūlaṁ karatrayam|
Daṇḍo dvihasta ūrdhvādhaḥpīṭhayugvipulastvasau||102||
Vasvaṅgulaḥ prakartavyaḥ sūtratrayasamanvitaḥ|
Dvādaśāṅgulamānena daṇḍamūle tu pīṭhikā||103||
Dairghyāttūcchrāyāccordhve ca caturaṅgulamānataḥ|
Ūrdhve'pyucchrāyato vedāṅgulā dairghyāddaśāṅgulā||104||
Śūlamūlagataṁ pīṭhadvayaṁ khābdhisamāṅgulam|
Kṛtvā daṇḍaṁ triśūlaṁ tu tribhirbhāgaiḥ samantataḥ||105||
Aṣṭāṅgulapramāṇaiḥ syāddhastamātraṁ samantataḥ|
Śūlāgraṁ śūlamadhyaṁ tacchūlamūlaṁ tu tadbhavet||106||
Vedī madhye prakartavyā ubhayośca ṣaḍaṅgulam|
Dvādaśāṅguladīrghā tu ubhayoḥ pārśvayostathā||107||
Caturaṅgulamucchrāyānmūle vedīṁ prakalpayet|
Ubhayoḥ pārśvayoścaivamardhacandrākṛtiṁ tathā||108||
Bhrāmayetkhaṭikāsūtraṁ kaṭiṁ kuryāddviraṅgulām|
Vaipulyāddairghyato devi caturaṅgulamānataḥ||109||
Yādṛśaṁ dakṣiṇe bhāge vāme tadvatprakalpayet|
Madhye śūlāgravaipulyādaṅgulaścādhordhvataḥ||110||
Caturaṅgulamānena vaipulyāttu ṣaḍaṅgulā|
Ucchrāyāttu tataḥ kāryā gaṇḍikā tu svarūpataḥ||111||
Pīṭhordhve tu prakartavyaṁ śūlamūlaṁ tu suvrate|
Śūlāgramaṅgulaṁ kāryaṁ sutīkṣṇaṁ tu ṣaḍaṅgulam||112||
Arāmadhyaṁ prakartavyamarādhastu ṣaḍaṅgulam|
Caturaṅgulanimnaṁ tu madhyaṁ tu parikalpayet||113||
Pūrvāparaṁ tadeveha madhye śūlaṁ tu tadbahiḥ|
Kārayeta tribhiḥ sūtrairekaikaṁ vartayeta ca||114||
Kajatrayaṁ tu śūlāgraṁ vedāṁśairdvādaśāṅgulam|
Kramāddakṣānyamadhyeṣu tryaṣṭadvādaśapatrakam||115||
Cakratrayaṁ vātapuraṁ padmamaṣṭāṅgulārakam|
Vidyābhikhyaṁ śūlamūle rajaḥ paścātprapātayet||116||
Triśūlaṁ daṇḍaparyantaṁ rājavartena pūrayet|
Sūtratrayasya pṛṣṭhe tu śuklaṁ cārātrayaṁ bhavet||117||
Śuklena rajasā śūlamūle vidyāmbujaṁ bhavet|
Raktaṁ raktāsitaṁ śuklaṁ kramādūrdhvāmbujatrayam||118||
Śuklena vyomarekhā syātsā sthaulyādaṅgulaṁ bahiḥ|
Tāṁ tyaktvā vedikā kāryā hastamātraṁ pramāṇataḥ||119||
Vaipulyatriguṇaṁ dairghyātprākāraṁ caturaśrakam|
Samantato'tha dikṣu syurdvārāṇi karamātrataḥ||120||
Tridhā vibhajya kramaśo dvādaśāṅgulamānataḥ|
Kaṇṭhaṁ kapolaṁ śobhāṁ tu upaśobhāṁ tadantataḥ||121||
Prākāraṁ caturaśraṁ tu sabhūrekhāsamanvitam|
Sitaraktapītakṛṣṇai rajobhiḥ kārayettataḥ||122||
Raktai rajobhirmadhyaṁ tu yathāśobhaṁ tu pūrayet|
Asya vyāptau purā coktaṁ tatraivānusarecca tat||123||
This (eṣaḥ) maṇḍala --lit. "sacrifice", but this literal meaning just does not fit here-- (yāgaḥ) which has been proclaimed (samākhyātaḥ) has the three powers (tri-śaktikaḥ) (and) is called "Ḍamara" (ḍāmara-ākhyaḥ).
Now (atha), the procedure (of drawing) tridents and lotuses (śūla-abja-vidhiḥ), such as seen (dṛṣṭaḥ) in Traiśirasa (traiśirase), is written (abhilikhyate).
"He should worship (arcayet) the ground (bhūmim), the (colored) powders (rajāṁsi), the doer --i.e. the thread used to trace the maṇḍala-- (karaṇīm), (and) the chalk (khaṭikām) through the root (Mantra) --this is the interpretation of Jayaratha-- (mūlatas), with the main means of purification, which are very attractive, e.g. the Nectar of the left, etc. (vāma-amṛta-ādibhiḥ mukhyaiḥ pavitraiḥ su-manoramaiḥ). The trident (śūlam), whose measure is three hands (kara-trayam), (is) in the center of a square measuring four hands (caturaśre catur-haste madhye). The staff (daṇḍaḥ), whose measure is two hands (dvi-hastaḥ), has a couple of seats, one above and another below (ūrdhva-adhas-pīṭha-yuk). It --i.e. the staff-- (asau) is to be made (prakartavyaḥ) eight fingers (vasu-aṅgulaḥ) thick --lit. "deep"-- (vipulaḥ tu). It is (also) endowed with three threads (sūtra-traya-samanvitaḥ). The pedestal (pīṭhikā) at the root of the staff (daṇḍa-mūle tu) measures twelve fingers (dvādaśa-aṅgula-mānena) long (dairghyāt tu), and (ca) upward (ūrdhve), with a measure of four fingers (catur-aṅgula-mānatas) high (ucchrāyāt). (That which is) on top (of the pedestal) (ūrdhve) is also four fingers (api... veda-aṅgulā) high (ucchrāyat), (and) ten fingers (daśa-aṅgulā) long (dairghyāt). The two seats (pīṭha-dvayam) located at the root of the trident (śūla-mūla-gatam) (measure) forty full/parallel fingers (kha-abdhi-sama-aṅgulam)".
"After making (kṛtvā) the staff (daṇḍam), the trident (triśūlam tu) is (syāt) with three portions (tribhiḥ bhāgaiḥ) measuring eight fingers (aṣṭa-aṅgula-pramāṇaiḥ) on all sides (samantatas), viz. only one hand (hasta-mātram) all around (samantatas)".
"That (tad... tad) is (bhavet) the tip, middle and root of the trident (śūla-agram śūla-madhyam... śūla-mūlam tu). The enclosure (vedī) is to be made (prakartavyā) in the middle (madhye) —(which extends) six-fingers (ṣaṭ-aṅgulam) on both (sides) (ubhayoḥ ca)— and (tathā) measures twelve fingers long (dvādaśa-aṅgula-dīrghā tu) on both sides (ubhayoḥ pārśvayoḥ). He should create (prakalpayet) (another) enclosure (vedīm) at the root (of the trident) (mūle) measuring four fingers (catur-aṅgulam) high (ucchrāyāt) and (tathā) with the form of a half-moon (ardha-candra-ākṛtim), the same (evam) on both sides (ubhayoḥ pārśvayoḥ ca). He should rotate (bhrāmayet) the thread with chalk (khaṭikā-sūtram), (and) make (kuryāt), oh Goddess (devi), a two fingers (dvis-aṅgulām) thick (vaipulyāt) wall (kaṭim), whose measure is four fingers (catur-aṅgula-mānataḥ) long (dairghyatas). He should similarly create (tadvat prakalpayet) on the left (vāme) part (bhāge) one which is equal to that of the right (part) (yādṛśam dakṣiṇe). In the middle (madhye), the thickness is that of the tip of the trident (śūla-agra-vaipulyāt), and (ca) beneath (adhas), it is one finger (aṅgulaḥ). Above (ūrdhvatas), with a measure of four fingers (catur-aṅgula-mānena) thick (vaipulyāt tu) (and) six fingers (ṣaṭ-aṅgulā) high (ucchrāyāt tu), (there is a vedī or enclosure --this is explained by Jayaratha--). Next (tatas), a little bulb (gaṇḍikā tu) is to be made (kāryā). Similarly (svarūpatas), above the seat (pīṭha-ūrdhve tu), O You who are strict observing vows (su-vrate), the root of the trident (śūla-mūlam tu) is to be made (prakartavyam). The tip of the trident (śūla-agram), (whose measure is) one finger (aṅgulam) is to be made (kāryam) very sharp (su-tīkṣṇam) indeed (tu). The middle of the spokes --i.e. of the prongs-- (arā-madhyam) is to be made (prakartavyam) (with a measure of) six fingers (ṣaṭ-aṅgulam). (And,) the lower (portion) (adhas tu) (should also measure) six fingers (ṣaṭ-aṅgulam)".
"He should create (parikalpayet) the eastern and the western (pūrva-aparam) (so that) the middle (madhyam tu) is four fingers deep (catur-aṅgula-nimnam tu). That (tad eva) (is) the prong (śūlam tu) here (iha). Outside that (tad-bahis), he should make (kārayeta) one by one --it refers to three circles-- (ekaikam) with three threads (tribhiḥ sūtraiḥ), and (ca) he should make --lit. he should make anything round-- (vartayeta) three lotuses (kaja-trayam tu) on the tip of the trident (śūla-agram) with (a distance of) four parts (between them) --Jayaratha explain this, of course-- (veda-aṁśaiḥ), (and measuring) twelve fingers (dvādaśa-aṅgulam). In the right, left and middle (lotuses) (dakṣa-anya-madhyeṣu) (there are) three, eight and twelve petals (tri-aṣṭa-dvādaśa-patrakam), respectively (kramāt). (So,) a triad of wheels (emerges) (cakra-trayam). (Next,) a vātapura --lit. abode of the wind-- (vāta-puram) constituted by a lotus (padam) (measuring) eight fingers (and containing) eight petals --lit. eight spokes-- (aṣṭa-aṅgula-arakam), (and) called Vidyā (vidyā-abhikhyam), at the root of the trident (śūla-mūle). Afterward (paścāt), he should apply --lit. he should throw down-- (prapātayet) (colored) powder (rajas) (to the maṇḍala). He should fill (pūrayet) the trident (triśūlam), up to the end of the staff (daṇḍa-paryantam), with blue/black (rājavartena), while (ca) the triad of prongs (arā-trayam) behind (pṛṣṭhe tu) the three threads (sūtra-trayasya) should be (bhavet) white (śuklam). The lotus of Vidyā (vidyā-ambujam) at the root of the trident (śūla-mūle) should be (colored) (bhavet) with white powder (śuklena rajasā). The upper three lotuses (ūrdhva-ambuja-trayam) (should be) red (raktam), red/black (rakta-asitam), (and) white (śuklam), respectively (kramāt). The series of vyoma-s --lit. heavens, ether, etc.-- (vyoma-rekhā) should be (syāt) (colored) with white (powder) (śuklena). It --i.e. the series of vyoma-s-- (sā), due to its great size (sthaulyāt), (extends) one finger (aṅgulam) outward (bahis). After leaving (tyaktvā) it (tām), an enclosure (vedikā) is to be made (kāryā) with a measure (pramāṇataḥ) of only one hand (hasta-mātram). The quadrangular (caturaśrakam) enclosure (prākāram) is three times thicker (vaipulya-triguṇam) than long (dairghyāt). Now (atha), the doors (dvārāṇi), measuring only one hand (kara-mātratas), should be (syuḥ) on all sides (samantatas), in (all) the directions (dikṣu). After successively dividing (vibhajya kramaśas) (their) measure of twelve fingers (dvādaśa-aṅgula-mānataḥ) thrice (tridhā), (he should trace) the throat (kaṇṭham), the cheek (kapolam), the (main) ornament (śobhām tu) (and) the secondary ornament (upa-śobhām) at the end of that (tad-antatas). He should make (kārayet) the quadrangular (caturaśram tu) enclosure (prākāram), endowed with the earth line (sa-bhū-rekhā-samanvitam), with white, red, yellow and black powder (sita-rakta-pīta-kṛṣṇaiḥ rajobhiḥ). After that (tatas), he should fill (pūrayet) the middle (madhyam tu) with red powder (raktaiḥ rajobhiḥ) so that it has a good appearance (yathāśobham tu). With reference to its pervasion (asya vyāptau), he should follow (anusaret) there (tatra) that (tad) which has been mentioned (uktam) before (purā ca)"||100-123||
Stanzas 124 to 131
अरात्रयविभागस्तु प्रवेशो निर्गमो भ्रमः।
अनाहतपदव्याप्तिः कुण्डल्या उदयः परः॥१२४॥
हृदि स्थाने गता देव्यस्त्रिशूलस्य सुमध्यमे।
नाभिस्थः शूलदण्डस्तु शूलमूलं हृदि स्थितम्॥१२५॥
शक्तिस्थानगतं प्रान्तं प्रान्ते चक्रत्रयं स्मरेत्।
उत्क्षिप्योत्क्षिप्य कलया देहमध्यस्वरूपतः॥१२६॥
शूलदण्डान्तमध्यस्थशूलमध्यान्तगोचरम्।
प्रविशेन्मूलमध्यान्तं प्रान्तान्ते शक्तिवेश्मनि॥१२७॥
अस्पन्दकरणं कृत्वैकदा एकदा स्पन्दवर्तनम्।
मूलमानन्दमापीड्य शक्तित्रयपदं विशेत्॥१२८॥
तत्र पूज्यं प्रयत्नेन जायन्ते सर्वसिद्धयः।
समस्ताध्वसमायोगात्षोढाध्वव्याप्तिभावतः॥१२९॥
समस्तमन्त्रचक्राद्यैरेवमादिप्रयत्नतः।
षट्त्रिंशत्तत्त्वरचितं त्रिशूलं परिभावयेत्॥१३०॥
विषुवत्स्थेन विन्यासो मन्त्राणां मण्डलोत्तमे।
कार्योऽस्मिन्पूजिते यत्र सर्वेश्वरपदं भजेत्॥१३१॥
Arātrayavibhāgastu praveśo nirgamo bhramaḥ|
Anāhatapadavyāptiḥ kuṇḍalyā udayaḥ paraḥ||124||
Hṛdi sthāne gatā devyastriśūlasya sumadhyame|
Nābhisthaḥ śūladaṇḍastu śūlamūlaṁ hṛdi sthitam||125||
Śaktisthānagataṁ prāntaṁ prānte cakratrayaṁ smaret|
Utkṣipyotkṣipya kalayā dehamadhyasvarūpataḥ||126||
Śūladaṇḍāntamadhyasthaśūlamadhyāntagocaram|
Praviśenmūlamadhyāntaṁ prāntānte śaktiveśmani||127||
Aspandakaraṇaṁ kṛtvaikadā spandavartanam|
Mūlamānandamāpīḍya śaktitrayapadaṁ viśet||128||
Tatra pūjyaṁ prayatnena jāyante sarvasiddhayaḥ|
Samastādhvasamāyogātṣoḍhādhvavyāptibhāvataḥ||129||
Samastamantracakrādyairevamādiprayatnataḥ|
Ṣaṭtriṁśattattvaracitaṁ triśūlaṁ paribhāvayet||130||
Viṣuvatsthena vinyāso mantrāṇāṁ maṇḍalottame|
Kāryo'sminpūjite yatra sarveśvarapadaṁ bhajet||131||
The division into three spokes (arā-traya-vibhāgaḥ tu) (is) the entrance (praveśaḥ), the exit (nirgamaḥ), (and) the rotation (bhramaḥ). The penetration into the state of the unstruck sound (anāhata-pada-vyāptiḥ) (is) the supreme (paraḥ) rising (udayaḥ) of Kuṇḍalī (kuṇḍalyāḥ). The goddesses (devyaḥ) of the trident (triśūlasya) are (gatāḥ) in the place of the heart (hṛdi sthāne), in the beautiful central point (su-madhyame). The staff of the trident (śūla-daṇḍaḥ tu) resides in the navel (nābhi-sthaḥ), but (tu) the root of the trident (śūla-mūlam) remains (sthitam) in the heart (hṛdi). (Its) tip or end (prāntam) dwells in the place of Śakti (śakti-sthāna-gatam). He should remember (smaret) the triad of wheels (cakra-trayam) in (that) tip or end (prānte).
After throwing over and over again upward (utkṣipya utkṣipya) the field from the end of the middle of the trident residing in the middle of the end of the staff of the trident (śūla-daṇḍa-anta-madhya-stha-śūla-madhya-anta-gocaram) by means of the Kalā or Power (kalayā) from the essential nature in the center of the body (deha-madhya-svarūpatas), he should penetrate (praviśet) into the end of the middle of the root (mūla-madhya-antam), in the dwelling-place of Śakti (śakti-veśmani) at the end of the tip --according to Jayaratha "prānta" (tip or end) really is "dvādaśānta"-- (prānta-ante).
After making (kṛtvā) the motionless instrument (aspanda-karaṇam) at once (ekadā) into something that has movement (spanda-vartanam), (and) after pressing hard (āpīḍya) the root that is bliss (mūlam ānandam), he should enter (viśet) there (tatra) with effort (prayatnena), i.e. into the adorable state of the triad of Powers (śakti-traya-padam... pūjyam). All the siddhi-s --i.e. accomplishments, supernatural powers-- (sarva-siddhayaḥ) spring up (jāyante). He should meditate (paribhāvayet) on the trident (triśūlam) which is made of the thirty-six tattva-s or categories (ṣaṭtriṁśat-tattva-racitam) thus (evam), through an initial effort (ādi-prayatnatas), by uniting all the paths (samasta-adhva-samāyogāt) through the state of pervasion of the sixfold path (ṣoḍha-adhva-vyāpti-bhāvatas), together with all the Mantras, wheels, etc. (samasta-mantra-cakra-ādyaiḥ). The placing (vinyāsaḥ) of the Mantra-s (mantrāṇām) on this honored best of the maṇḍala-s (maṇḍala-uttame... asmin pūjite) is to be performed (kāryaḥ) by someone who resides in the equinox --according to Jayaratha, this is a person who is "prāṇasāmya", i.e. in him the breath is in equilibrium; Abhinavagupta explained all this in the chapter 6-- (viṣuvat-sthena), where (yatra) he enjoys --viz. he partakes of, has, etc.-- (bhajet) the condition of Lord of all (sarva-īśvara-padam)||124-131||
Stanzas 132 to 141
स्वस्तिकेनाथ कर्तव्यं युक्तं तस्योच्यते विधिः।
नाडिकाः स्थापयेत्पूर्वं मुहूर्तं परिमाणतः॥१३२॥
शक्रवारुणदिक्स्थाश्च याम्यसौम्यगतास्तथा।
एकोनत्रिंशद्वंशाः स्युरृजुतिर्यग्गतास्तथा॥१३३॥
Svastikenātha kartavyaṁ yuktaṁ tasyocyate vidhiḥ|
Nāḍikāḥ sthāpayetpūrvaṁ muhūrtaṁ parimāṇataḥ||132||
Śakravāruṇadiksthāśca yāmyasaumyagatāstathā|
Ekonatriṁśadvaṁśāḥ syurṛjutiryaggatāstathā||133||
Now (atha) (the maṇḍala) is to be made (kartavyam) endowed with (yuktam) a svastika (svastikena). Its (tasya) procedure (vidhiḥ) is described (ucyate):
Firstly (pūrvam), he should establish (sthāpayet) the subtle channels (nāḍikāḥ), whose number --lit. by measure-- (parimāṇatas) is thirty --because a "muhūrta" is the 30th part of a day, i.e. 48 minutes-- (muhūrtam), which are residing in the quarters of Indra and Varuṇa --i.e. east and west-- (śakra-vāruṇa-dik-sthāḥ) as well as (ca... tathā) residing in (those of) Yama and Soma --i.e. south and north-- (yāmya-saumya-gatāḥ).
Thus (tathā), there should be (syuḥ) twenty-nine vaṁśa-s --the original meaning of "vaṁśa" is "lineage", but here it seems to mean "portion", like "aṁśa"-- (ekonatriṁśat-vaṁśāḥ), positioned vertically and horizontally (ṛju-tiryak-gatāḥ)||132-133||
अष्टौ मर्मशतान्येकचत्वारिंशच्च जायते।
वंशैर्विषयसङ्ख्यैश्च पद्मं युग्मेन्दुमण्डलम्॥१३४॥
रससङ्ख्यैर्भवेत्पीठं स्वस्तिकं सर्वकामदम्।
वसुसङ्ख्यैर्द्वारवीथावेवं भागपरिक्रमः॥१३५॥
Aṣṭau marmaśatānyekacatvāriṁśacca jāyate|
Vaṁśairviṣayasaṅkhyaiśca padmaṁ yugmendumaṇḍalam||134||
Rasasaṅkhyairbhavetpīṭhaṁ svastikaṁ sarvakāmadam|
Vasusaṅkhyairdvāravīthāvevaṁ bhāgaparikramaḥ||135||
Eight-hundred and forty-one marma-s --lit. joints-- (aṣṭau marma-śatāni ekacatvāriṁśat ca) are generated (jāyate).
The lotus (padmam) (is formed) with parts whose number is that of the objects of sense --i.e. five-- (vaṁśaiḥ viṣaya-saṅkhyaiḥ ca), (and) is constituted by a couple of maṇḍala-s of the moon --the translation of this samāsa or compound is very ambiguous; another possible translation could be "is constituted by the maṇḍala of the couple of moons", etc.; really, to put "yugma" (couple, pair) at the beginning of the compound threw us, translators, into the unfathomable ocean of doubt-- (yugma-indu-maṇḍalam). The seat (pīṭham) contains a number of six (portions) (rasa-saṅkhyaiḥ bhavet). The svastika (there) (svastikam) grants all desires (sarva-kāma-dam). The door and the vītha --a kind of platform maybe-- (dvāra-vīthau) contain a number of eight (portions) (vasu-saṅkhyaiḥ). The series of portions (bhāga-parikramaḥ) is so (evam)||134-135||
रन्ध्रविप्रशराग्नींश्च लुप्येद्बाह्यान्तरं क्रमात्।
मर्माणि च चतुर्दिक्षु मध्याद्द्वारेषु सुन्दरि॥१३६॥
वह्निभूतमुनिव्योमबाह्यगर्भे पुरीषु च।
लोपयेच्चैव मर्माण्यन्तर्नाडिविवर्जितान्॥१३७॥
द्वारप्राकारकोणेषु नेत्रानलशरानृतून्।
नाडयो ब्रह्मवंशस्य लोप्या नेत्राद्रसस्थिताः॥१३८॥
वह्नेर्नेत्रानलौ लोप्यौ वेदान्नेत्रयुगं रसात्।
नेत्रं सौम्यगतं लोप्यं पूर्वाद्वेदानलौ रसात्॥१३९॥
Randhravipraśarāgnīṁśca lupyedbāhyāntaraṁ kramāt|
Marmāṇi ca caturdikṣu madhyāddvāreṣu sundari||136||
Vahnibhūtamunivyomabāhyagarbhe purīṣu ca|
Lopayeccaiva marmāṇyantarnāḍivivarjitān||137||
Dvāraprākārakoṇeṣu netrānalaśarānṛtūn|
Nāḍayo brahmavaṁśasya lopyā netrādrasasthitāḥ||138||
Vahnernetrānalau lopyau vedānnetrayugaṁ rasāt|
Netraṁ saumyagataṁ lopyaṁ pūrvādvedānalau rasāt||139||
"O beautiful Woman (sundari), he should successively erase (lupyet... kramāt), in the fourth directions (catur-dikṣu), externally and internally (bāhya-antaram), the marma-s or joints --i.e. the junctures-- (marmāṇi ca), viz. cavities, brāhmaṇa-s, arrows and fire (randhra-vipra-śara-agnīn ca), from the middle (madhyāt) into the doors (dvāreṣu), from outside to inside, into the fire, gross elements, sages and ether --very cryptic way to write-- (vahni-bhūta-muni-vyoma-bāhya-garbhe), and (ca) into the fortresses (purīṣu)".
Also (ca eva), in the corners/angles of the walls of the doors (dvāra-prākāra-koṇeṣu), he should take away (lopayet) the marma-s or joints (marmāṇi), (and,) except for the inner subtle channels --here Abhinavagupta seems to refer to the inner squares-- (antar-nāḍi-vivarjitān), eyes, fire, arrows and seasons (netra-anala-śarān ṛtūn).
"The subtle channels --i.e. squares, in practice-- (nāḍayas) of the portion of Brahmā (brahma-vaṁśasya) are to be erased (lopyāt), from the second (netrāt), six (rasa-sthitāḥ), from the third (vahneḥ), two and three --i.e. five-- (netra-analau) are to be erased (lupyau), from the fourth (vedāt), four (netra-yugam), from the sixth (rasāt), two (netram). (The group of squares) located on the left (saumya-gatam), from the first (pūrvāt), is to be erased (lopyam); (and) from the sixth (rasāt), four and three --i.e. seven-- (veda-analau) --that is what I read, if this makes any sense for someone--"||136-139||
लोकस्थान्नाडिकान्हित्वा नेत्राद्वेदाग्नयः क्रमात्।
शरैर्वह्नियुतं चैव युगं नेत्राग्नयो क्रमात्॥१४०॥
नेत्रात्पूर्वगताच्चैव सुमेरुर्द्वारसञ्ज्ञितः।
स्वस्तिका च पुरी रम्या चतुर्दिक्षु स्थितावुभौ॥१४१॥
Lokasthānnāḍikānhitvā netrādvedāgnayaḥ kramāt|
Śarairvahniyutaṁ caiva yugaṁ netrāgnayo kramāt||140||
Netrātpūrvagatāccaiva sumerurdvārasañjñitaḥ|
Svastikā ca purī ramyā caturdikṣu sthitāvubhau||141||
"After abandoning (hitvā) seven subtle channels --i.e. seven squares-- (loka-sthān nāḍikān), from the second (netrāt), (he should) progressively (erase) (kramāt) four and three --viz. seven-- (veda-agnayaḥ). (Next,) from the second which is at first (netrāt pūrva-gatāt ca eva), furnished with three (vahni-yutam), along with five (śaraiḥ). (Now, he should) progressively (delete) (kramāt) the pair (yugam), plus two and three (squares) (netra-agnayaḥ)".
"Both (ubhau), (Mount) Sumeru (sumeruḥ) —called "the Door" (dvāra-sañjñitaḥ)—, and (ca) the delightful (ramyā) fortress (purī) of the svastika (svastikā) stay (sthitau) in the four directions (catur-dikṣu)"||140-141||
Stanzas 142 to 154
मर्मणां च शते द्वे च ऋषिभिर्गुणिता दिशः।
नेत्रादिकांश्च सम्मार्ज्य मार्गमध्यात्सुशोभने॥१४२॥
Marmaṇāṁ ca śate dve ca ṛṣibhirguṇitā diśaḥ|
Netrādikāṁśca sammārjya mārgamadhyātsuśobhane||142||
"O very beautiful One (su-śobhane), after removing (sammārjya) two-hundred and seventy-two (śate dve ca ṛṣibhiḥ guṇitāḥ diśaḥ... netra-ādikān ca) marma-s or junctures (marmaṇām ca), (he should draw the vīthi or platform called the fortress of the svastika) from the middle of the path (mārga-madhyāt) --that is not my own invention, but it was proclaimed by Jayaratha, the commentator--"||142||
ऋषित्रयकृते मध्ये विषयैः कर्णिका भवेत्।
नेत्रीकृतान्वसून्पत्रं नेत्रं सकृद्विभाजितम्॥१४३॥
वह्निं वसुगतं कृत्वा शशाङ्कस्थांश्च लोपयेत्।
वह्नीषुऋषिमध्याच्च लोप्यं पीठेन्दुकावधि॥१४४॥
Ṛṣitrayakṛte madhye viṣayaiḥ karṇikā bhavet|
Netrīkṛtānvasūnpatraṁ netraṁ sakṛdvibhājitam||143||
Vahniṁ vasugataṁ kṛtvā śaśāṅkasthāṁśca lopayet|
Vahnīṣuṛṣimadhyācca lopyaṁ pīṭhendukāvadhi||144||
In the middle which consists of thrice seven --i.e. twenty-one-- (ṛṣi-traya-kṛte madhye).
"The pericarp (karṇikā) contains the objects of sense --i.e. five squares-- (viṣayaiḥ... bhavet). The (number of) petals (patram) is sixteen --i.e. two times eight-- (netrī-kṛtān vasūn). Having divided once (sakṛt-vibhājitam) the second (netram) (and) the third (vahnim), which is connected with the eighth (vasu-gatam), he should erase (lopayet) (the squares) residing in the moon (śaśāṅka-sthān ca)".
"From the middle, (characterized by) three, five and seven (portions) (vahni-iṣu-ṛṣi-madhyāt ca), (all that) is to be erased (lopyam), up to the moon (near) the seat (pīṭha-induka-avadhi)"||143-144||
ब्रह्मणो नेत्रविषयान्नेत्राद्वेदानलौ हरेत्।
सागरे नेत्रकं लोप्यं नाडयः पूर्वदिग्गताः॥१४५॥
Brahmaṇo netraviṣayānnetrādvedānalau haret|
Sāgare netrakaṁ lopyaṁ nāḍayaḥ pūrvadiggatāḥ||145||
"From the second (portion or square) (netrāt) of Brahmā (brahmaṇaḥ), he should remove (haret) the objects of sense --i.e. five-- from two (netra-viṣayān) (and) four and three (veda-analau). The second (netrakam) is to be erased (lopyam) in the fourth (sāgare) (so that now there will be three) subtle channels --the number "three" comes from the Jayaratha's commentary; it is not my invention-- (nāḍayaḥ) residing in the eastern quarter (pūrva-dik-gatāḥ)"||145||
भूतनेत्रगतान्मूर्ध्ना नेत्राद्द्विवह्निदृक्त्रिकात्।
सौम्यगात्पीठकोणेषु लोपयेत चतुर्ष्वपि॥१४६॥
Bhūtanetragatānmūrdhnā netrāddvivahnidṛktrikāt|
Saumyagātpīṭhakoṇeṣu lopayeta caturṣvapi||146||
"In the four corners/angles of the seat (pīṭha-koṇeṣu... caturṣu api), from the north --saumya means "northern"-- (saumya-gāt), he should erase (lopayeta) (the squares of the) five and the two (bhūta-netra-gatān), at the top (mūrdhnā), (and) from the two (netrāt), from the two, three, two and three (dvi-vahni-dṛk-trikāt) --if that makes any sense for someone; I am translating blindly what I am reading, but at the end, only Bhairava and Abhinavagupta understood that; I repeat again, it is absurd to explain how to draw something by using words; yes, you can do it, but the result will be just dreadfully confusing like this chapter; Abhinavagupta should have given us some drawings, or at least some sketches, and that is it, no need to write so much, really; or maybe Abhinavagupta did it but they got lost, who knows--"||146||
दलानि कार्याणि सितैः केसरं रक्तपीतलैः।
कर्णिका कनकप्रख्या पल्लवान्ताश्च लोहिताः॥१४७॥
व्योमरेखा तु सुसिता वर्तुलाब्जास्तु नीलभाः।
पीठं रेखात्रयोपेतं सितलोहितपीतलम्॥१४८॥
स्वस्तिकाश्च चतुर्वर्णा अग्नेरीशानगोचराः।
वीथी विद्रुमसङ्काशा स्वदिक्ष्वस्त्राणि बाह्यतः॥१४९॥
इन्द्रनीलनिभं वज्रं शक्तिं पद्ममणिप्रभाम्।
दण्डं हाटकसङ्काशं वक्त्रं तस्यातिलोहितम्॥१५०॥
नीलद्युतिसमं खड्गं पाशं वत्सकसप्रभम्।
ध्वजं पुष्पफलोपेतं पञ्चरङ्गैश्च शोभितम्॥१५१॥
गदा हेमनिभात्युग्रा नानारत्नविभूषिता।
शूलं नीलाम्बुजसमं ज्वलद्वह्न्युग्रशेखरम्॥१५२॥
तस्योपरि सितं पद्ममीषत्पीतारुणप्रभम्।
चक्रं हेमनिभं दीप्तमरा वैडूर्यसन्निभाः॥१५३॥
अरामध्यं सुपीतं च बाह्यं ज्वालारुणं भवेत्।
मन्दिरं देवदेवस्य सर्वकामफलप्रदम्॥१५४॥
Dalāni kāryāṇi sitaiḥ kesaraṁ raktapītalaiḥ|
Karṇikā kanakaprakhyā pallavāntāśca lohitāḥ||147||
Vyomarekhā tu susitā vartulābjāstu nīlabhāḥ|
Pīṭhaṁ rekhātrayopetaṁ sitalohitapītalam||148||
Svastikāśca caturvarṇā agnerīśānagocarāḥ|
Vīthī vidrumasaṅkāśā svadikṣvastrāṇi bāhyataḥ||149||
Indranīlanibhaṁ vajraṁ śaktiṁ padmamaṇiprabhām|
Daṇḍaṁ hāṭakasaṅkāśaṁ vaktraṁ tasyātilohitam||150||
Nīladyutisamaṁ khaḍgaṁ pāśaṁ vatsakasaprabham|
Dhvajaṁ puṣpaphalopetaṁ pañcaraṅgaiśca śobhitam||151||
Gadā hemanibhātyugrā nānāratnavibhūṣitā|
Śūlaṁ nīlāmbujasamaṁ jvaladvahnyugraśekharam||152||
Tasyopari sitaṁ padmamīṣatpītāruṇaprabham|
Cakraṁ hemanibhaṁ dīptamarā vaiḍūryasannibhāḥ||153||
Arāmadhyaṁ supītaṁ ca bāhyaṁ jvālāruṇaṁ bhavet|
Mandiraṁ devadevasya sarvakāmaphalapradam||154||
The petals (dalāni) are to be created (kāryāṇi) with white (powders) (sitaiḥ), the filament (kesaram) with red and yellow (powders) (rakta-pītalaiḥ), the pericarp (karṇikā) looks like gold (kanaka-prakhyā), and (ca) the ends of the sprouts (pallava-antāḥ) are red (lohitāḥ). The series of vyoma-s --lit. heavens, ether, etc.-- (vyoma-rekhā tu) is pure white (susitā), (while) the circular lotuses (vartula-abjāḥ tu) are of bluish appearance (nīla-bhāḥ). The seat (pīṭham) is endowed with three lines (rekhā-traya-upetam) whose (colors are) white, red and yellow (sita-lohita-pītalam). And (ca) the svastikā-s (svastikāḥ), whose fields of action are the southeast and northeast (agneḥ īśāna-gocarāḥ), are four-colored (catur-varṇāḥ). The vīthī --i.e. the platform-- (vīthī) has the appearance of coral (vidruma-saṅkāśā). The weapons (astrāṇi), externally (bāhyatas), (remain) in their own quarters (sva-dikṣu). The thunderbolt (vajram) looks like a sapphire (indranīla-nibham). The Śakti (śaktim) gleams (like) a red gem (padma-maṇi-prabhām). The staff (daṇḍam) has the appearance of gold (hāṭaka-saṅkāśam), (and) its (tasya) face (vaktram) is very red (ati-lohitam). The sword (khaḍgam) is like a blue splendor (nīla-dyuti-samam), (and) the noose (pāśam) has the same lustre or appearance as the black sulfate of iron (vatsaka-saprabham). The standard/banner (dhvajam) is furnished with flowers and fruits (puṣpa-phala-upetam), and (ca) is decorated (śobhitam) with four colors (pañca-raṅgaiḥ). The club (gadā), adorned with multiple gems (nānā-ratna-vibhūṣitā), is similar to gold (hema-nibhā) (and) looks very fierce (ati-ugrā). The trident (śūlam) is like a blue lotus (nīla-ambuja-samam) (and) in its fierce crest has a blazing fire (jvalat-vahni-ugra-śekharam). Above that (tasyo upari), (there is) a white (sitam) lotus (padmam) which is a little orange --lit. which is a little yellow-red-- (īṣat-pīta-aruṇa-prabham). The brilliant (dīptam) wheel (cakram) resembles gold (hema-nibham), (and its) spokes (arāḥ) are similar to a cat's-eye gem (vaiḍūrya-sannibhāḥ), and (ca) the middle of the spokes (arā-madhyam) is a beautiful yellow (su-pītam). The temple (mandiram) of the God of gods (deva-devasya) —which grants the fruits of all desires (sarva-kāma-phala-pradam)— is (bhavet) externally (bāhyam) red with flames (jvāla-aruṇam)||147-154||
Stanzas 155 to 160
श्रीसिद्धायां शूलविधिः प्राक्क्षेत्रे चतुरश्रिते।
हस्तमात्रं त्रिधा सूर्यान्नवखण्डं यथा भवेत्॥१५५॥
मध्ये शूलं च तत्रेत्थं मध्यभागं त्रिधा भजेत्।
नवभिः कोष्ठकैर्युक्तं ततोऽयं विधिरुच्यते॥१५६॥
मध्यभागत्रयं त्यक्त्वा मध्ये भागद्वयस्य तु।
अधस्ताद्भ्रामयेत्सूत्रं शशाङ्कशकलाकृति॥१५७॥
उभयतो भ्रामयेत्तत्र यथाग्रे हाकृतिर्भवेत्।
कोट्यां तत्र कृतं सूत्रं नयेद्रेखां तु पूर्विकाम्॥१५८॥
अपरद्वारपूर्वेण त्यक्त्वाङ्गुलचतुष्टयम्।
रेखां विनाशयेत्प्राज्ञो यथा शूलाकृतिर्भवेत्॥१५९॥
शूलाग्रे त्वर्धहस्तेन त्यक्त्वा पद्मानि कारयेत्।
अधः शृङ्गत्रयं हस्तमध्ये पद्मं सकर्णिकम्॥१६०॥
Śrīsiddhāyāṁ śūlavidhiḥ prākkṣetre caturaśrite|
Hastamātraṁ tridhā sūryānnavakhaṇḍaṁ yathā bhavet||155||
Madhye śūlaṁ ca tatretthaṁ madhyabhāgaṁ tridhā bhajet|
Navabhiḥ koṣṭhakairyuktaṁ tato'yaṁ vidhirucyate||156||
Madhyabhāgatrayaṁ tyaktvā madhye bhāgadvayasya tu|
Adhastādbhrāmayetsūtraṁ śaśāṅkaśakalākṛti||157||
Ubhayato bhrāmayettatra yathāgre hākṛtirbhavet|
Koṭyāṁ tatra kṛtaṁ sūtraṁ nayedrekhāṁ tu pūrvikām||158||
Aparadvārapūrveṇa tyaktvāṅgulacatuṣṭayam|
Rekhāṁ vināśayetprājño yathā śūlākṛtirbhavet||159||
Śūlāgre tvardhahastena tyaktvā padmāni kārayet|
Adhaḥ śṛṅgatrayaṁ hastamadhye padmaṁ sakarṇikam||160||
In the venerable Siddhātantra (śrī-siddhāyām), the procedure (to draw) the trident (śūla-vidhiḥ) (is as follows):
Firstly (prāk), (he should draw) inside a quadrangular field (kṣetre caturaśrite) (another square which is twelve finger-breadths smaller on each side) --Jayaratha explains this part which Abhinavagupta just did not write--. It is thrice (tridhā) one hand only (hasta-mātram). From the twelfth (sūryāt), (it is to be drawn) so that (yathā) it will consist of nine parts (nava-khaṇḍam... bhavet), and (ca) there (tatra), in this way (ittham), a trident (śūlam) (has to be traced) in the center (madhye).
The middle part (madhya-bhāgam) should be divided into three --Jayaratha says that it is "into two"-- (tridhā bhajet), (and) furnished with (yuktam) nine squares (navabhiḥ koṣṭhakaiḥ). After that (tatas), this (ayam) procedure (vidhiḥ) is described (ucyate). After abandoning (tyaktvā) a triad of central portions --i.e. squares-- (madhya-bhāga-trayam), (by placing it first) in the middle (madhye) of the two portions or squares (bhāga-dvayasya tu), he should rotate (bhrāmayet) a thread (sūtram) downward (adhastāt) (so that a line) whose form is a very little portion of the moon (is created) (śaśāṅka-śakala-ākṛti). He should rotate (bhrāmayet) (the thread) there (tatra) from both sides (ubhayatas) so that (yathā) there will be --lit. there is-- (bhavet) the form of (the letter) "ha" (ha-ākṛtiḥ) in front (agre). The thread (sūtram) is placed (kṛtam) there (tatra) on the end (koṭyām). (Now,) he should lead --if this makes any sense-- (nayet) the previous (pūrvikām) line (rekhām tu). In front of the western door (apara-dvāra-pūrveṇa), after abandoning (tyaktvā) a set of four fingers (aṅgula-catuṣṭayam), the wise person (prājñaḥ) should annihilate --I am being totally literal, next Jayaratha will explain this-- (vināśayet) the line (rekhām) so that (yathā) there will be (bhavet) the form of a trident (śūla-ākṛtiḥ). In front of the trident --or "in the tip of the trident"-- (śūla-agre tu), having abandoned (tyaktvā) half a hand (ardha-hastena), he should make (kārayet) lotuses --according to Jayaratha, their number is three-- (padmāni). Below (adhas) the three prongs (śṛṅga-trayam), (he should trace) a lotus (padam) with a pericarp (sa-karṇikam) in the middle of the hand (hasta-madhye)||155-160||
Stanzas 161 to 163
मुखाग्रे धारयेत्सूत्रं त्रिभिर्हस्तैस्तु पातयेत्।
मध्ये चोर्ध्वं ततः कुर्यादधस्तादङ्गुलद्वयम्॥१६१॥
रेखाद्वयं पातयेत यथा शूलं भवत्यपि।
अधोभागादिभिश्चोर्ध्वं तत्र रेखा प्रपद्यते॥१६२॥
समीकृत्य ततः सूत्र ऊर्ध्वे द्वे एवमेव तु।
मध्यं पद्मं प्रतिष्ठाप्यं शूलाधस्ताद्यशस्विनि॥१६३॥
Mukhāgre dhārayetsūtraṁ tribhirhastaistu pātayet|
Madhye cordhvaṁ tataḥ kuryādadhastādaṅguladvayam||161||
Rekhādvayaṁ pātayeta yathā śūlaṁ bhavatyapi|
Adhobhāgādibhiścordhvaṁ tatra rekhā prapadyate||162||
Samīkṛtya tataḥ sūtra ūrdhve dve evameva tu|
Madhyaṁ padmaṁ pratiṣṭhāpyaṁ śūlādhastādyaśasvini||163||
He should hold (dhārayet) a thread (sūtram) in front of the mouth/face (mukha-agre), he should throw (it) (pātayet) for three hands (tribhiḥ hastaiḥ tu).
After that (tatas), in the middle (madhye ca), above (ūrdhvam) (and) beneath (adhastāt), he should make (kuryāt) a couple of lines (rekhā-dvayam) (separated) two fingers (from each other) (aṅgula-dvayam) so that (yathā) there will be (bhavati api) a trident (śūlam). Having made there the upper (part) equal with the lower part, etc. (adhas-bhāga-ādibhiḥ ca ūrdhvam tatra... samīkṛtya), a line (rekhā) is obtained (prapadyate). Next (tatas), he should thus throw (pātayeta... evam eva tu) two threads (sūtre... dve) above (ūrdhve).
O renowned (Goddess) (yaśasvini), the central (madhyam) lotus (padmam) is to be placed (pratiṣṭhāpyam) beneath the trident (śūla-adhastāt)||161-163||
इत्येष मण्डलविधिः कथितः सङ्क्षेपयोगतो महागुरुभिः।
Ityeṣa maṇḍalavidhiḥ kathitaḥ saṅkṣepayogato mahāgurubhiḥ|
Thus (iti), this (eṣaḥ) procedure regarding the maṇḍala (maṇḍala-vidhiḥ) has been succinctly proclaimed (kathitaḥ saṅkṣepa-yogatas) by the great Guru --lit. by the great Guru-s-- (mahā-gurubhiḥ)|
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