El Devi Bhagavatam

the next three letters touch the head; with the next four letters touch the tuft on the crown of the head; with the next three letters on the Kavacha; with the next four letters on the eyes and with the last four letters make the Nyâsa, all over the body repeating “Astrâya Phat,” O Nârada! Hear now the Dhyânam of Gâyatrî, that grants all desires. The Gâyatrî Devî has five faces; one of which is of white colour; and the other four is of pearl, Vidruma, golden, and Nîlakântamani colour respectively. Each face has got three eyes; on the head there is a crown of jewels and the digit of the Moon is shining there. Her body is composed of the twenty-four tattvas. She has ten hands :-- On the top right and left hands there are two lotuses; lower down, there are disc and conch shell; lower down, there are rope and skull; lower down, there are noose and goad; and on the bottom hands right and left she is making signs of “No fear” and “ready to grant boons.” Thus meditating on S’rî Gâyatrî, one is to recite the Kavacha thus :-- Let the Gâyatrî Devî protect my front; Sâvitrî Devî protect my right; the Sandhyâ Devî, my back and the Devî Sarasvatî, my left. Let my Mother Pârvatî Devî protect my quarters. Let Jalas'âyinî protect the southeast; Yâtudhâna Bhayankarî protect my South-west; Pavamânavilâsinî my north-west; Rudrarûpinî Rudrânî protect my north-east. Let Brahmânî protect my top and Vaisnavî protect my nether regions. Let the word “Tat” in the Gâyatrî protect my legs; “Savituh” protect my Knees; “Varenyam,” protect my loins; “Bhargah,” my navel. Let “Devasya” protect my heart; “Dhîmahî” protect my neck; “Dhîyah,” protect my eyes; “Yah,” protect my forehead; “Nah” protect my head; and “Prachodayât” protect the tuft on the crown of my head.

Again let the “Tat” of the twenty-four syllabled Gâyatrî protect my head; “Sa,” protect my forehead; “Vi” protect my eyes; “Tu” my cheeks; “Va,” protect my nostrils; “Re,” my mouth; “ni” protect my upper lip; “Yah” protect my lower lip; “Bha” within my face; “rgo,” protect my cheeks; “De,” my throat; “Va” my shoulders; “Sya” my right hand; “Dhi” my navel; “ma,” my heart, “Hi,” my belly; “Dhî,” my navel; “Yo” my loins; “Yo”, my anus; “nah,” my thighs, “Pra,” my Knees; “Cho” my shanks “Da” my heels; “Yâ” my legs; and let “at” protect all my sides. O Nârada! This divine Kavacha of the Devî Gâyatrî can baffle hundreds and thousands of obstructions and evils; can grant sixty-four Kalâs and liberation. By the glory of this Kavacha, man can become free from all evils and can attain the state of Brahmâ. Moreover whoever reads or hears this acquires the fruits of making a gift of a thousand cows.

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Here ends the Third Chapter of the Twelfth Book on the description of the Kavacha of S’rî Gâyatrî Devî in the Mahâpurânam S’rî Mad Devî Bhâgavatam of 18,000 verses by Maharsi Veda Vyâsa.

The Devi Bhagavatam: The Twelfth Book: Chapter 4

THE TWELFTH BOOK

Chapter IV

On Gâyatrî Hridaya

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1-2. Nârada said :-- O Bhagavân! I have heard from you all about the Kavacha and the Mantra of S’rî Gâyatrî. O Deva Deva! O Thou, the Knower of the present, the past, and the future! Now tell about the Hridaya, the highest, the interior or esoteric Essence of the Gâyatrî, holding which, if one repeats the Gâyatrî, he acquires all the punyam (merits), I am desirous to hear this.

3-8. Nârâyana said :-- O Nârada! This subject on the Hridaya of Gâyatrî is explicitly written in the Atharva Veda. Now I will speak on that, the great secret, in detail. Listen. First, consider the Gâyatrî, the Devî, the Mother of the Vedas as of a Cosmic Form (Virâ trupâ) and meditate all the Devas as residing on Her Body. Now in as much as the Pinda and Brahmânda are similar, consider yourself as of the form of the Devî and meditate within yourself on the Devatâs, thus :-- The Pundits, the Knowers of the Vedas, say this :-- He is not yet fit to worship the Deva and he is not an Adhikârî as yet who has not been able to make himself a Deva; therefore to establish the knowledge of the oneness of the Deva and himself, he is to meditate the Devas within his body, thus :--

O Nârada! Now I will speak on the Hridaya of Gâyatrî, knowing which every man becomes able to become all the Devas. Listen. The Risi of this Gâyatrî Hridaya is Nârâyana; the Chhandas is Gâyatrî; and S’rî Parames'varî Gâyatrî is the Devatâ. Perform the Nyâsa of this as mentioned before and taking your seat in a lonely place, meditate intently on the Devî with your heart and head well collected. Now I am speaking of the Arthanyâsa. Hear. Meditate on the Devatâ Dyau on your head; the twin As'vins on the rows of the teeth; the two Sandhyâs on your upper and lower lips; the Agni, Fire, within your mouth; Sarasvatî, on the tongue; Brihaspati on the neck; the eight Vasus on the two breasts; the Vâyus, on the two arms; the Paryanya Deva on the heart; Âkâs'a, on the belly; Antarîksam (the middle space) on the navel; Indra and Agni, on the loins; Prajâpati, the condensed form, as it were, of Vijñâna, on the hip joints; the Kailâs'a and the Malaya mountains on the two thighs; the Visvedevâs on the two knees; Vis'vâmitra on the shanks; the Sun's northern and southern paths, the Uttarâyana and Daksinâyana

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on the anus; the Pitris on the thighs; the Earth on the legs; the Vanaspati on the fingers and toes; the Risis on the hairs of the body; the Muhûrtas on the nails; the planets on the bones; the Ritus (seasons) on the blood and flesh; the Samvatsaras on the Nimisa (twinkling of eye) the Sun and the Moon on the day and night respectively. Thinking thus, repeat “I take refuge of the Divine Holy Gâyatrî, the Chief and most Excellent One, the Thousand eyed and I take refuge wholly unto Her.”

Then repeat “I bow down to Tat savitur varenyam,” “I bow down to the Rising Sun on the East,” “I bow down to the Morning Aditya,” “I bow down to the Gâyatrî, residing in the Morning Sun” and “I bow down to all.” O Nârada! Whoever recites this Gâyatrî Hridaya in the morning finds all the sins committed in the night all destroyed! Whoever recites this in the evening gets his sins of the day all destroyed! Whoever recites this in the evening and in the morning can rest assured to have become free of sins; he gets the fruits of all the Tîrthas; he is acquainted with all the Devas; he is saved if he has spoken anything that ought not to have been spoken; if he has eaten anything that is not fit to be eaten; if he has chewn and sucked anything that ought not to have been chewn and sucked; if he has done anything that ought not to have been done and if he has accepted hundreds and thousands of gifts that ought never to have been accepted.

The sins incurred by eating with the others in a line cannot touch him. If he speaks lies, he will not be touched by the sins thereof; even if a non-Brahmachâri recites this, he will become a Brahmachârî. O Nârada! What more shall I say to you of the results of Gâyatrî Hridaya than this :-- that whoever will study this will acquire the fruits of performing thousand sacrifices and repeating the Gâyatrî sixty thousand times. In fact, he will get Siddhi by this. The Brâhmâna, who daily reads this in the morning will be freed of all the sins and go upwards to the Brahmâ (Loka) and is glorified there. This has been uttered by Bhagavân Nârâyana Himself.

Here ends the Fourth Chapter of the Twelfth Book on Gâyatrî Hridaya in the Mahâpurânam S’rî Mad Devî Bhâgavatam of 18,000 verses by Maharsi Veda Vyâsa.

The Devi Bhagavatam: The Twelfth Book: Chapter 5

THE TWELFTH BOOK

Chapter V

On the Gâyatrî Stotra

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1. Nârada said :-- O All knowing One! Thou showest Thy grace to Thy devotees! Thou hast described this sin-destroying Gâyatrî Hridaya. Now describe Her Stava (hymn of praise).

2-29. Nârâyana said :-- O World-Mother! O Thou, favouring Thy devotees! O Thou, the Prime Force, O Omnipresent! Infinite! S’rî Sandhye! I bow down to Thee. Thou art the Sandhyâ; Thou art the Gâyatrî, Sâvitrî and Sarasvatî; Thou art Brâhmî, Vaisnavî and Raudrî and Thou art red, white, and black (the colours of Gâyatrî, Sâvitrî and Sarasvatî) that Thou assumest respectively. O Bhagavatî! Thou art always meditated by the Munis as young in the morning, full of youth in the mid-day, and aged in the evening. I bow down to Thee. Thou art seen by the Tapasvis (ascetics) as Brahmânî, riding on Hamsa (swan), Sarasvatî riding on Garuda, and Sâvitrî riding on Bull. Thou art seen within by the ascetics as manifesting the Rigveda (in the form of Sâvitrî) in this world, as manifesting Yayurveda in the middle space (antariksam) and as manifesting Sâmaveda everywhere in the Rudra loka, thus roaming in the three worlds. I bow down to Thee. O Devî! Thou art Rudrânî in the Rudra loka, Vaisnavî in the Visnu loka, and Brahmânî in the Brahmâ loka; thus Thou shewest Thy favour to the Immortals. O Devî! Thou art the Mother delighting the seven Risis (of the Great Bear); Thou art Mâyâ. Thou grantest great many boons to Thy Bhaktas. Thou art sprung from the eyes and hands, tears and perspiration of S’iva and S’ivâ. Thou art the Mother of delights, Durgâ Devî, recited by the following ten names :-- Varenyâ, Varadâ, Varisthâ, Varavarninî, Garisthâ, Varâhâ, Varârohâ, Nîlagangâ, Sandhyâ and Bhoga Moksadâ. Thou art the Bhâgirathî (the river Ganges) in this world; the Bhogavatî in the Pâtâla; and the Mandâkinî (the milky way) in the Heavens. Thou art in this world (Bhur loka) the all-enduring Prithvî (earth); Thou art the Vâyu S’akti (air power) in the middle space (Bhubhar Loka); Thou art the energy (the ocean of Tejas) in the Heavens (Svar loka); Thou art the Great Siddhi in the Mahar loka; Thou art Janâ in the Janar Loka; Thou art Tapasvinî in the Tapar loka; Thou art Truth (True Speech) in the Satya lokam. Thou art Kamalâ in Visnu loka; Gâyatrî in Brahmâ loka; and the other half of Hara as Gaurî in the Rudra loka. O Devî! Thou art sung as Prakriti – “Aham” “Om-Mahat” tattva and beyond that the Highest Sarva

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Brahmâ rûpinî and Sâmyâvasthâ Prakriti. Thou art the Parâ S’akti; Thou art the Paramâ S’akti; O Devî! Thou art the Tri-S’akti :-- the Ichchhâ S’akti (the will power), the Kriyâ S’akti (power of action) and the Jñâna S’akti (the force of knowledge). Thou art the Gangâ, Yamunâ, Vipâs'â, Sarasvatî, Sarayu, Devîkâ, Sindhu; Narmadâ, Îrâvatî, Godâvarî, S’atadru; Kâverî, Kaus'ikî, Chandra Bhâgâ, Vitastâ, Gandakî, Tapinî, Karatoyâ, Gomatî, and Vetravatî and other rivers; Thou art the Idâ, Pingalâ, and Susumnâ nerves; Thou art Gândhârî, Hastajihvâ, Pûsâ, Apûsâ, Alambusâ, Kuhû, S’ankhinî, Prânavâhinî and other nerves in the body; O Devî! Thou art the vital power in the lotus of the heart; Thou art Svapna nâikâ in the throat; Thou art Sadâdhârâ in the palate; and Thou art the Vindumâlinî S’akti in the pituitary space between the eyebrows.

Thou art the Kundalinî in the Mûlâdhâra (sacral plexus), the Vyâpinî extending upto the roots of the hairs; Thou art Madhyâsanâ on the crown of the head, and Thou art Manonmanî in the Brahmârandhra. O Devî! What need there is in stating these? Suffice it to say that whatever there is seen in this universe, all art Thou; therefore, O S’rî Sandhyâ Devî! I bow down to Thee. O Nârada! Thus I have spoken to you about the Gâyatrî-Stotra that gives all successes, destroys all sins, and yields all merits. He who reads this in the Sandhyâ times, with all attention, will get sons if he has no sons, will get wealth if he has no wealth. There is no doubt in this. Whoever reads this Stotra gets the fruits of all Tîrthas, all Tapasyâs, all gifts, all sacrifices and all Yogas. He enjoys happiness in this world and finally gets the Moksa. The Munis who are engaged in Tapasyâs read this Stotra. While bathing, if one reads this, merged under water, acquires the fruits of his being merged in the Sandhyâ. O Nârada! I speak this verily, verily, verily, unto you that there is no trace of any doubt in this statement. Whoever will hear with devotion this Sandhyâ stotra, the nectar-like thing, will be freed from all sins.

Here ends the Fifth Chapter of the Twelfth Book on the Gâyatrî Stotra in the Mahâpurânam S’rî Mad Devî Bhâgavatam of 18,000 verses by Maharsi Veda Vyâsa.

The Devi Bhagavatam: The Twelfth Book: Chapter 6

THE TWELFTH BOOK

Chapter VI

On the one thousand and eight names of the Gâyatrî

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1-3. Nârada said :-- O Bhagavân! O All-knowing One! O Thou versed in all the S’âstras! I have heard from Thy mouth all the secrets of S’rutis and Smritis. Now I ask Thee, O Deva! How can the knowledge of that Veda Vidyâ (Learning) be obtained by which all sins are rooted out and destroyed, how is Brahmajñânam obtained and how can Moksa be obtained? How can death be conquered and how can

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the best results be obtained in this world and in the next. O Lotus-eyed One! Thou ought’st to describe fully all these to me.

4-9. Nârâyana said :-- O Nârada! O Highly Learned One! Sâdhu! Sâdhu! You have now put a nice question indeed! Now I will describe one thousand and eight names of the Gâyatrî Devî. Listen attentively. These all sin-destroying auspicious names were composed by Brahmâ and first recited by Him. Its Risi is Brahmâ; the Chhandas is Anustup; the Devatâ is Gâyatrî; its Vîja is Halavarna (consonants) and its S’akti is Svaravarna (vowels). Perform the Anga Nyâsa and the Kara Nyâsa by the Mâtrikâ varnas (that is, by the fifty syllables). Now hear its Dhyânam, that will do good to the Sâdhakas (the practisers). [N.B. :-- Amga Nyâsa - Touching the limbs of the body with the hand accompanied by appropriate Mantras. Kara Nyâsa - assignment of the various parts of fingers and hand to different deities which is usually accompanied with prayers and corresponding gesticulations.] I worship the Kumârî (virgin) Gâyatrî Devî, the Lotus-eyed One, riding on the Swan (the Prânas), and seated on a lotus (creation); Who is three-eyed and of a red colour; and Who is bright and decorated with gems and jewels of red, white, green, blue, yellow and other variegated colours; Who is holding in Her hands Kundikâ, the rosary, lotus and making signs as if ready to grant the desired boons and on whose neck is suspended the garland of red flowers. I worship the Devî Gâyatrî. [Note :-- The colours are the various emotions and feelings.]

10-16. Now I will recite the one thousand and eight names of the Gâyatrî, beginning with the syllable “a” and going on a, â, i, î, etc., in due order of the alphabets. Listen! Her ways and actions cannot be comprehended by intellect (Buddhi); She is therefore Achintya Laksanâ; She is Avyaktâ (unmanifested; unspeakable); She is Arthamâtrimahes’varî, (because She is the Controller of Brahmâ, etc.); She is Amritârnava madhyasthâ, Ajitâ and Aparâjitâ. Thou art Animâdigunâdhârâ, Arka mandalasamsthitâ, Ajarâ, Ajâ, Aparâ, Adharmâ (she has no dharma, caste, etc.), Aksasûtradharâ, Adharâ; Akârâdaksakârântâ (beginning with the syllable “a” and ending with the syllable “ksa”, thus comprising the fifty syllables), Arisadvargabhedinî (destroying the five passions), Anjanâdripratîkâs’â, Anjanâdrinivâsinî, Aditi, Ajapâ, Avidyâ, Aravindanibheksanâ, Antarvahihsthitâ, Avidyâdhvamsinî, and Antarâtmikâ. Thou art Ajâ. Ajamukhâvâsâ (residing in the mouth of Brahmâ), Aravindanibhânanâ, (Vyanjanavarnâtmikâ, therefore called) Ardhamâtrâ, Arthadânajñâ (because She grants all the Purusârthas.)

Arimandalamarddinî, Asuraghnî, Amâvâsyâ, Alaksîghnî, Antyajârchitâ. Thus end Her names beginning with “A”. Now the names with

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“” Thou art Âdi Laksmî, Âdi S’akti, Âkriti, Âyatânanâ, Âdityapadavichârâ, Âdityaparisevitâ, Âchâryâ, Âvartanâ; Âchârâ, and Âdi Mûrti nivâsinî.

17-18. Thou art Âgneyî, Âmarî, Âdyâ, Ârâdhyâ, Âsanasthitâ, Âdhâra nilayâ (seated in the Mulâdhâra), Âdhârâ (the Refuge of all), and Âkâs’ânta nivâsini (of the nature of Aham tattva; Thou art Âdyâksara samâyuktâ, Ântarâkâs’arûpinî, Âdityamandalagatâ, Ântaradhvântanâs’inî, (i.e., destroyer of the Moha of Jîvas). Then come the names beginning with “I.”

19-25. Thou art Indirâ, Istadâ, Istâ Indîvaraniveksanâ, Irâvatî, Indrapadâ, Indrânî, Indurûpinî, Iksukodandasamyuktâ, Isusandhânakârinî, Indranîlasamakârâ, Idâpingalarûpinî, Indrâksî, Îs’varî, Devî Îhâtrayavivarjitâ. Thou art Umâ, Usâ, Udunibhâ, Urvârukaphalânanâ, Uduprabhâ, Udumatî, Udupâ, Udumadhyagâ, Ûrdha, Ûrdhakes’î, Ûrdhadhogatibhedinî, Ûrdhavâhupriyâ, Ûrmimâlâvâggranthadâyinî. Thou art Rita, Risi, Ritumatî (the Creatrix of the world), Risidevanamaskritâ, Rigvedâ, Rinahartrî, Risimandala chârinî, Riddhidâ, Rijumârgasthâ, Rijudharmâ, Rijupradâ, Rigvedanilayâ, Rijvî, Lupta dharma pravartinî, Lûtârivarasam bhûtâ, Lûtâdivisahârinî.

26-30. Thou art Ekâksarâ, Ekamâtrâ, Ekâ, Ekaikanisthitâ, Aindrî, Airâvatârûdhâ, Aihikâmusmikapradâ, Omkârâ, Osadhî, Otâ, Otaprotanivâsinî, Aurbbâ, Ausadhasampannâ, Aupâsanaphalapradâ, Andamadhyasthitâ, Ahkâramanurûpinî. (Visargarûpinî). Thus end the names beginning with vowels.

Now begin the names beginning with consonants. Thou art Kâtyâyanî, Kâlarâtri, Kâmâksî, Kâmasundarî, Kamalâ,. Kâminî, Kântâ, Kâmadâ, Kâlakanthinî, Karikumbha stana bharâ, Karavîra Suvâsinî, Kalyanî, Kundalavatî, Kuruksetranivâsinî, Kuruvinda, dalâkârâ, Kundalî, and Kumudâlayâ.

31-32. Thou art Kâlajhibhâ, Karâlâsyâ, Kâlikâ, Kâlarûpinî, Kâmanîyagunâ, Kânti, Kalâdhârâ, Kumudvatî, Kaus’ikî, Kamalâkârâ, Kâmachâraprabhanjinî. Thou art Kaumarî, Karunâpângî, Kakubanta (as presiding over all the quarters), and Karipriyâ.

33-37. Thou art Kes’arî, Kes’avanutâ, Kadamba Kus’umapriyâ, Kâlindî, Kâlikâ, Kâñchî, Kalas’odbhavasamstutâ. Thou art Kâmamâtâ, Kratumatî, Kâmarûpâ, Kripâvatî, Kumârî, Kunda nilayâ, Kirâtî, Kîravâhana, Kaikeyî, Kokilâlâpâ, Ketakî, Kusumapriyâ, Kamandaludharâ, Kâlî, Karmanirmûlakârinî, Kalahansagati, Kaksâ, Kritâ, Krita, Kautukamangalâ, Kastûrîtilakâ, Kamrâ, Karîndra Gamanâ, Kuhû, Karpûralepanâ, Krisnâ, Kapilâ, Kuharâs’rayâ, Kûtasthâ, Kudharâ, Kamrâ, Kuksisthâkhilavistapâ.

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Thus end the names with Ka. Now come those with Kha.

38-62. Thou art Khadga Khetadharâ, Kharbhâ, Khecharî, Khagavâhanâ, Khattânga dhârinî, Khyâta, Khagarâjoparisthitâ, Khalaghnî, Khanditajarâ, Khadâksyânapradâyinî, Khandendu tilakâ.

Thou art Gangâ, Ganes’a guhapûjita, Gâyatrî, Gomatî, Gîtâ, Gândhârî, Gânalolupâ, Gautamî, Gâminî, Gâdhâ, Gandharvâpsarasevitâ, Govinda charanâ krântâ, Gunatraya vibhâbitâ, Gandharvî, Gahvarî, Gotrâ, Girîs’â, Gahanâ, Gamî, Guhâvâsâ, Gunavatî (of good qualities), Gurupâpapranâs’inî, Gurbhî, Gunavatî (of the three gunas), Guhyâ, Goptavyâ, Gunadâyinî, Girijâ, Guhyamâtangî, Garudadhvajavallabhâ, Garvâpahârinî, Godâ (grating Heaven), Gokulasthâ, Gadâdharâ, Gokarnanilayâ saktâ, and Guhyamandala vartinî.

Now the names with “Gha”. Thou art Gharmadâ, Ghanadâ, Ghantâ, Ghora Dânava marddinî, Ghrinî mantra mayî (of the Sûrya mantra, Ghrinî is to shine). Ghosâ, Ghanasampâtadâyinî, Ghantâra-vapriyâ, Ghrânâ, Ghrinisantustikârinî (giving pleasure to the Sun), Ghanârimandalâ, Ghûrnâ, Ghritâchî, Ghanaveginî, Gñânadhâtumayî. Thou art Charchâ, Charchitâ, Châruhâsinî, Chatulâ, Chandikâ, Chitrâ, Chitramâlyayi bhûsitâ, Chaturbhujâ. Châru dantâ, Châturî, Charitapradâ, Chûlikâ, Chitravastrântâ, Chandramah Karna Kundalâ, Chandrahâsâ, Chârudâtrî, Chakorî, Ghandrahâsinî, Chandrikâ, Chandradhâtrî, Chaurî, Chorâ, Chandikâ, Chanchadvâgvâdinî, Chandrachûdâ, Choravinâs’inî, Châruchandana liptângî, Chanchachchâmaravîjitâ, Chârumadhyâ, Chârugati, Chandilâ, Chandrarûpinî, Châruhoma priyâ, Chârvâ, Charitâ, Chakrabâhukâ, Chandramandalamadhyasthâ, Chandramandala Darpanâ, Chakravâkastanî, Chestâ, Chitrâ, Châruvilâsinî, Chitsvarûpâ; Chandavatî, Chandramâ, Chandanapriyâ, Chodayitrî (as impelling the Jîvas always to actions), Chiraprajñâ, Châtakâ, Châruhetukî.

Thou art Chhatrayâtâ, Chhatradharâ, Chhâyâ, Chhandhahparichchhadâ, Chhâyâ Devî, Chhidranakhâ, Chhannendriyavisarpinî, Chhandonustuppratisthântâ, Chhidropadrava bhedinî, Chhedâ, Chhatres’varî, Chhinnâ, Chhurikâ, and Chhelanpriyâ. Thou art Jananî, Janmrarahitâ, Jâtaveda, Jaganmayî, Jâhnavî, Jatilâ, Jatrî (Jetrî), Jarâmarana varjitâ, Jambu dvîpa vatî, JvâIâ, Jayantî, Jalasâlinî, Jitendrîyâ, Jitakrodhâ, Jitâmitrâ, Jagatpriyâ, Jâtarûpamayî, Jihvâ, Jânakî, Jagatî, Jarâ (Jayâ) Janitrî, Jahnutanayâ, Jagattrayahitaisinî, Jvâlamulî, Japavatî, Jvaraghnî, Jitavistapâ, Jitâkrântamayî, Jvâlâ, Jâgratî, Jvaradevatâ, Jvalantî, Jaladâ, Jyesthâ, Jyâghosâ sphota dinmukhî, Jambhinî, Jrimbhanâ, Jrimbhâ, Jvalanmânikya Kundalâ. Jhinjhikâ, Jhananirghosâ, Jhanjhâ

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Mâruta veginî, Jhallakîvâdya kus’alâ, Nrûpâ, Nbhujâ, Tanka bhedinî, Tanka bânasamâyuktâ, Tankinî, Tanka bhedinî, Tankîganakritâghosâ, Tankanîya mahorasâ, Tankâra Kârinî, Tha tha s’avdaninâdinî.

63-80. Now come the names beginning with “Da.” They are :-- Dâmarî, Dâkinî, Dimbhâ, Dundamâraikanirjitâ, Dâmarîtantramargasthâ, Dandadamarunâdinî, Dindîravasahâ, Dimbhalasat krîdâparâyanâ (dancing with joy in battles). Then Dhundhi vighnes’a jananî, Dhakkâ hastâ, Dhilivrajâ (followed by S’iva ganas), Nityajñânâ, Nirupamâ, Nirgunâ and Narmadâ river. Now :-- Trigunâ, Tripadâ, Tantrî, Tulasî, Tarunâ, Tara, Trivikramapadâ krântâ, Tûrîyapadagâminî, Tarunâ ditya samkas’â, Tâmasî, Tuhinâ, Turâ, Trikâlajñâna Sampannâ, Trivalî, Trilochanâ, Tri S’akti, Tripurâ, Tungâ, Turangavadanâ, Timingilagilâ, Tibrâ, Trisrotâ, Tâmasâdinî, Tantra mantravis’esajñâ, Tanumadhyâ, Trivipstapâ, Trisandhyâ, Tristanî, Tosâsamsthâ, Tâlapratâpinî, Tâtankinî, Tusârâbhâ, Tuhinâchala vâsinî, Tantujâlasamâyuktâ, Târahârâ valipriyâ, Tilahomapriyâ, Tîrthâ, Tamâla kusumâ kriti, Târakâ, Triyutâ, Tanvî, Tris’am kuparivâritâ, Talodarî, Tirobhâsâ, Tâtamka priyavâdinî, Trijatâ, Tittirî, Trisnâ, Tribidhâ, Tarunâ kritî, Tapta kânchanasamkâs’â, Tapta kâñchana bhûsanâ, Traiyambakâ, Trivargâ, Trikâlajñânadâyinî, Tarpanâ, Triptidâ, Triptâ, Tâmasî, Tumvarustutâ, Târksyasthâ, Trigunâkârâ, Tribhangî, Tanuvallarî, Thâtkârî, Thâravâ, Thântâ, Dohinî, Dînavatsalâ, Dânavânta karî, Durgâ, Durgâsuranivahrinî, Devarîti, Divârâtri, Draupadî, Dunda bhisvanâ, Devayânî, Durâvâsâ, Dâridrya bhedinî, Divâ, Dâmodarapriyâ, Dîptâ, Digvâsâ, Digvimohinî, Danda kâranya nilayâ, Dandinî, Deva pûjitâ, Deva vandyâ, Divisâdâ, Dvesinî, Dânavâ kriti, Dînanâ thastutâ, Dîksâ, Daivas’â disvarupinî, Dhâtri, Dhanurdharâ, Dhenur Dhârinî, Dharmachârinî, Dhurandharâ, Dharâdharâ, Dhanadâ, Dhânya dohinî, Dharmas’îlâ, Dhanâdhyaksâ, Dhanurvedavis’âradâ, Dhriti, Dhanyâ, Dhritapadâ, Dharmarâjapriyâ, Dhruvâ, Dhûmavatî, Dhûmakes’î Dharmas’âstraprakas’inî.

81-98. Nandâ, Nandapriyâ, Nidrâ, Nrinutâ, Nandanâtmikâ, Narmmadâ Nalinî, Nîlâ, Nîlakanthasamâs’rayâ, Rudrânî, Nârâyanapriyâ, Nityâ, Nirmmalâ, Nirgunâ, Nidhi, Nirâdhârâ, Nirupamâ, Nityas’uddhâ, Nirajñânâ, Nâdabindu Kalâtîtâ, Nâdavindu Kalâtmikâ, Nrisimhinî; Nagadharâ, Nripanâga vibhûsitâ, Naraka Kles’anâs’inî, Nârâyanapadodbhavâ, Niravadyâ, Nirâkârâ, Nâradapriyakârinî, Nânâjyotih, Nidhidâ, Nirmalâtmikâ, Navasûtradharâ, Nîti, Nirupa drava kârinî, Nandajâ, Navaratnâdhyâ, Naimîsâranya vâsinî, Navanîtapriya, Nârî, Nîla jîmûta nisvanâ, Nimesinî, Nadîrûpâ, Nîlagrîvâ, Nis’is’varî, Nâmâvalî, Nis’umbhaghnî, Nâgaloka nivâsinî, Navajâmbû nadaprakhyâ, Nâgalokâ

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dhidevatâ, Nûpûrâ Krântacharanâ, Narachitta pramodinî, Nimagnâ rakta nayanâ, Nirghâta-sama-nisvanâ, Nandanodyânilayâ, Nirvya hoparichârinî.

99-107. Pârvatî, Paramodârâ, Parabrahmâtmikâ, Parâ, Pañchkos’avinirmuktâ, Pañchapâtaka-nâs’inî, Para chitta vidhânajñâ, Pañchikâ, Pañcharûpinî. Pûrnimâ, Paramâ Prîti, Paratejah prakas’inî, Purânî, Paurusî, Punyâ, Pundarî kanibheksanâ, Pâtâla tala nirmmagnâ, Prîtâ, Prîtivivardhinî, Pâvanî, Pâda sahitâ, Pes’alâ, Pavanâs’inî Prajâpati, Paris’rântâ, Parvatastana mandalâ, Padmapriyâ, Padmasamsthâ, Padmâksî, Padmasambhavâ, Padmapatrâ, Padmapadâ, Padminî, Priyabhâsinî, Pas’upâs’a vinirmuktâ, Purandhrî, Puravâsinî, Puskalâ, Purusâ, Parbhâ, Pârijâta Kusumapriyâ, Pativratâ, Pativratâ, Pavitrângî, Puspahâsa parâyanâ, Prajñâvatîsutâ, Pautrî, Putrapûjyâ, Payasvinî, Pattipâs’adharâ, Pankti, Pitrilokapradâyinî, Purânî, Punyas’ila, Prânatârti vinâs’inî, Pradyumnajananî; Pustâ, Pitâmahaparigrahâ, Pundarîkapurâvâsâ, Pundarîkasamânanâ, Prithujanghâ, Prithubhujâ, Prithupâdâ, Prithûdarî, Pravâlas’obhâ, Pingâksî, Pîtavâsâh, Prachâpalâ, Prasavâ, Pustidâ, Punyâ, Pratisthâ, Prânavâ, Pati, Pañchavarnâ, Panchavânî, Pañchikâ, Panjarasthitâ, Paramâyâ, Parajyotih, Paraprîti, Parâgati, Parâkâsthâ, Pares’anî, Pâvanî, Pâvaka Dyutî, Punyabhadrâ, Parichchhedyâ. Puspahâsâ, Prithûdarâ, Pîtângî, Pîtavasanâ Pîtas’ayâ, Pis’âchinî, Pîtakriyâ, Pis’âchaghnî, Pâtalâksî, Patukriyâ, Pañchabhaksapriyâchârâ, Putanâ prânaghâtinî, Punyâgavanamadhyasthâ, Punyatîrthanisevitâ, Panchângî, Parâs’akti, Paramâdhâda kârinî, Puspakândasthitâ, Pûsâ, Positâkhilavistapâ, Pânapriyâ, Pañchas’ikhâ, Pannagoparis’âyinî, Pañchamâtrâtmikâ, Prithvî, Pathikâ, Prithudohinî, Purânanyâyamîmansâ, Pâtalî, Puspagandhinî, Punyaprajâ, Pâradâtrî, Paramârgaikagocharâ, Pravâlas’obhâ, Pûrnâs’â, Prânavâ, Palhabodarî.

108-149. Phalinî, Phaladâ, Phalgu, Phutkârî, Phalakâkritî, Phanindra bhogas’ayanâ, Phanimandalamanditâ, Bâlabâlâ, Bahumatâ, BâIâtapanibhâms’ukâ, Balabbadrapriyâ, Vandyâ, Badavâ, Buddhisamstutâ, Bandîdevî, Bilavatî, Badis’aghinî, Baliprîyâ, Bândhavî, Bodhitâ, Buddhirbandhûkakusumapriyâ, Bâla bhânuprabhâkârâ, Brâhmî, Brâhmana devatâ, Brihaspatistutâ. Brindâ, Brindavana vihârinî, Bâlâkinî, Bilâhâra, Bilavasâ Bahûdakâ, Bahunetrâ, Bahupadâ, Bahukarnâvatamsikâ, Bahubâhuyutâ, Bijarûpinî, Bahurûpinî, Bindunâdakalâtitâ, Bindunâdasvarûpinî, Baddhagodhângulitrânâ, Badaryâs’ramavâsinî, Brindârakâ, Brihatskandhâ, Brihatî, Bânapâtinî, Brindâdhyaksâ, Bahunutâ, Vanitâ, Bahuvikramâ, Baddhapadmâsanâsîna, Bilvapatratalasthitâ, Bodhidrumanijâvâsâ, Badisthâ, Bindu darpanâ, Bâlâ, Vânâsanavatî, Badavânalaveginî, Brahmânda

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bahirantasthâ, Brahmakankanasûtrinî, Bhavânî, Bhîsanavatî, Bhâvinî, Bhayahârinî, Bhadrakâlî, Bhujangâksî, Bhâratî, Bhâratâs’ayâ, Bhairavî, Bhîsanâkârâ, Bhûtidâ, Bhutimâlinî, Bhâminî, Bhoganiratâ, Bhadradâ, Bhûrivikramâ, Bhûtavâsâ, Bhrigulatâ, Bhârgavî, Bhûsurârchitâ, Bhâgîrathî, Bhogavatî, Bhavanasthâ, Bhisagvarâ, Bhâminâ, Bhoginî, Bhâsâ, Bhavânî, Bhûridaksinâ, Bhargâtmikâ, Bhâmavatî, Bhavabandhavimochinî, Bhajanîyâ, Bhûtadhâtri-ranjitâ, Bhuvanes’varî, Bhujangavalayâ, Bhîmâ, Bherundâ, Bhâgadheyinî; Thou art Mâtâ, Mâyâ, Madhumatî, Madhujihavâ, Manupriyâ, Mahâdevî, Mahâbhâgîâ, Mâliri, Mînalochanâ, Mâyâtîtâ, Madhumatî, Madhumânsâ, Madhudravâ, Mânavî, Madhusambhûtâ, Mithilâpuravâsinî, Madhukaitabhasamhartrî, Medinî, Meghamâlinî, Mandodarâ, Mahâ Mâyâ, Maithilî, Masrinapriyâ, Mahâ Laksmî, Mahâ Kâlî, Mahâ Kanyâ, Mahes’varî, Mâhendrî, Merutanayâ Mandârakusumârchitâ, Manjumanjîracharanâ, Moksadâ, Manjubhasinî, Madhuradrâvinî, Mudrâ, Malayâ, Malayânvitâ, Medhâ, Marakatas’yâmâ, Mâgadhî, Menakâtmajâ, Mahâmârî, Mahâvîrâ, Mahâs’yâmâ, Manustutâ, Mâtrikâ, Mihirâbhâsâ, Mukundapada Vikramâ, Mûlâdhârasthitâ, Mugdhâ, Manipûranivâsinâ, Mrigâksî, Mahisârûdhâ, Mahisâsuramardinî. Thou art Yogâsanâ, Yogagamyâ, Yogâ, Yauvanakâs’rayâ, Yauvanî, Yuddhamadhyasthâ, Yamunâ, Yugâdharinî, Yaksinî, Yogayuktâ, Yaksarâjaprasûtinî, Yâtrâ, Yâna bidhanajñâ, Yaduvans’asamudbhavâ, Yakârâdi-Ha Kârântâ, (all ântahstha varnas), Yâjusî, Yajñâ rûpinî, Yâminî, Yoganiratâ. Yâtudhâna, bhayamkarî, Rukminî, Ramanî, Râmâ, Revatî, Renukâ, Ratî, Raudrî, Raudrapriyâkârâ Râma mâtâ, Ratipriyâ, Rohinî, Râjyadâ, Revâ, Rasâ, Râjîvalochanâ, Râkes’î, Rûpasampannâ, Ratnasimhâs’anasthitâ, Raktamâlyâmbaradharâ, Raktagandhânu lepanâ, Râja hamsa samârûdhâ, Rambhâ, Raktavalipriyâ, Ramanîyayugâdhârâ, Râjitâkhilabhûtalâ, Rurucharmapari-dhânâ, Rathinî, Ratnamâlikâ, Roges’î, Rogas’amanî, Râvinî, Romaharsinî, Râmachandra padâ Krântâ, Ravanachchhedakârinî, Ratnavastra parichchhinvâ, Rathasthâ, Rukma bhûsanâ, Lajjâdhidevatâ, Lolâ, Lalitâ, Lingadhârinî, Laksmî, Lolâ, Luptavisâ, Lokinî, Lokavis’rutâ, Lajjâ, Lambodarî, Lalanâ, Lokadhârinî Varadâ, Vanditâ, Vidyâ, Vaisnavî, Vimalâkriti, Vârâhî, Virajâ, Varsâ, Varalaksmî, Vilâsinî, Vinatâ, Vyomamadhyasthâ, Vârijâsanasamsthitâ, Vârunî, Venusambhutâ, Vîtihotrâ, Virûpinî, Vâyumandalamadhyasthâ, Visnurûpâ, Vidhikriyâ, Visnupatnî, Visnumatî, Vis’âlâksi, Vasundharâ, Vâmadevapriyâ, Velâ, Vajrinî, Vasudohinî, Vedâksaraparîtâmgî, Vâjapeya-phalapradâ, Vâsavî, Vâmajananî, Vaikunthanilayâ, Varâ, Vyâsapriyâ Varmadharâ, Vâlmîkiparisevitâ.

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Thou art S’akambharî, S’ivâ, S’antâ, S’aradâ, S’aranâgati, S’âtodarî, S’ubhâchârâ, S’umbhâsuramardinî, S’obhâbati, S’ivâkârâ, S’amkarârdhas’arîrini, S’onâ (red), S’ubhâs’ayâ, S’ubhrâ, S’irahsandhânakârinî, S’arâvatî, S’arânandâ, S’arajjyotanâ, S’ubbânanâ, S’arabhâ, S’ûlinî, S’uddhâ, S’abarî, S’ukavâhanâ, S’rîmatî, S’rîdharânandâ, S’ravanânandadâyinî, S’arvânî, S’arbharîvandyâ, Sadbhâsâ, Sadritupriyâ, Sadâdhârasthitâdevî, Sanmukhapriyakârinî, Sadamgarûpasumati, Surâsuranamaskritâ.

150-155. Thou art Sarasvatî, Sadâdhârâ, Sarvamangalakârinî, Sâmagânapriyâ, Sûksmâ, Sâvitrî, Sâmasambhavâ, Sarvavâsâ, Sadânandâ, Sustanî, Sâgarâmbarâ, Sarvais’yaryapriyâ, Siddhi, Sâdhubandhuparâkramâ, Saptarsimandalagatâ, Somamandalavâsinî, Sarvajñâ, Sândrakarunâ, Samânâdhikavarjitâ, Sarvottungâ, Sangahînâ, Sadgunâ, Sakalestadâ, Saraghâ (bee), Sûryatanayâ, Sukes’î, Somasamhati, Hiranyavarnâ, Harinî, Hrîmkârî, Hamsavâhinî, Ksaumavastraparîtângî, Ksîrâbdhitanayâ, Ksamâ, Gâyatrî, Sâvitrî, Pârvatî, Sarasvatî, Vedagarbhâ, Varârohâ, S’rî Gâyatrî, and Parâmvikâ.

156-159. O Nârada! Thus I have described to you one thousand (and eight) names of Gâyatrî; the hearing of which yields merits and destroys all sins and gives all prosperity and wealth. Specially in the Astamîtithi (eighth lunar day) if after one’s meditation (dhyânam) worship, Homa, and japam, one recites this in company with the Brahmânas, one gets all sorts of satisfactions. These one thousand and eight names of the Gâyatrî ought not to be given to anybody indiscriminately. Speak this out to him only who is very devoted, who is a Brahmâna, and who is an obedient disciple. Even if any devotee, fallen from the observances of Âcharâ (right way of living), be a great friend, still do not disclose this to him.

160-165. In whatever house, these names are kept written, no cause of fear can creep in there and Laksmî, the Goddess of wealth, though unsteady, remains steady in that house.

This great secret yields merits to persons, gives wealth to the poor, yields moksa to those who are desirous of it, and grants all desires. If anybody reads this, he gets cured of his diseases, and becomes freed from bondages and imprisonment. All the Great Sins, for example, murdering Brâhmanas, drinking wine, stealing gold, going to the wife of one’s Guru, taking gifts from bad persons, and eating the uneatables, all are destroyed, yea, verily destroyed! O Nârada! Thus I have recited to you this Great Secret. All persons get, indeed, united with Brahmâ (Brahama sâyujya) by this. True. True. True. There is not the least trace of doubt here.

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Here ends the Sixth Chapter of the Twelfth Book on the one thousand and eight names of the Gâyatrî in the Mahâpurânam S’rî Mad Devî Bhâgavatam of 18,000 verses by Maharsi Veda Vyâsa.

The Devi Bhagavatam: The Twelfth Book: Chapter 7

THE TWELFTH BOOK

Chapter VII

On the Dîksâ vidhi or on the rules of Initiation

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1-3. Nârada said :-- I have heard the one thousand names or nâma stotras equivalent in its fruits to S’rî Gâyatrî, highly potent in making a good fortune and tending to a splendid increase of the wealth and prosperity. Now I want to hear about how initiations in Mantrams are performed, without which nobody, be he a Brâhmin, a Ksattriya, a Vais’ya or a S’ûdra, is entitled to have the Devî Mantra. O Lord! Kindly describe the ordinary (Sâmânya) and the special (vis’esa) rules thereof.

4-41. Nârâyana said :-- O Nârada! Listen. I am now telling you about the rules of initiation (Dîksâ) of the disciples, pure in heart. When they are initiated, they become entitled then and not before that, to worship the Devas, the Fire and the Guru. That method of instruction, and religious act and ceremony is called the Dîksâ (initiation) by which the Divine Knowledge is imparted; and at once flashes in the heart and mind of the initiated that Knowledge and all his sins are then destroyed. So the Pundits of the Vedas and the Tantras, say. (The Divine Knowledge is like lightning, fire, arising and permeating the body, mind, and spirit.) This Dîksâ ought to be taken by all means. This gives excellent merits and pure results. Both the Guru and the S’isya (disciple) ought to be very pure and true. (This is the first essential requisite. Then the results are instantaneous). First of all, the Guru is to perform all the morning duties, he is to take his bath and perform his Sandhyâ Vandanams. He is to return home from the banks of the river with his Kamandalu and observe maunam (silence). Then, in order to give Dîksâ, he is to enter into the assigned room (Yâga Mandapa) and take his seat on an Âsana that is excellent and calculated to please all. He is to perform Âchanara and do Prânâyâma. Then he should take water in his Arghya vessel and putting scents and flowers in that, charge that water with Phatkâra mantra (that is, condense electricity Spirit in that). Then uttering the Phat mantra, he is to sprinkle the water on the doorways of the worshiproom and begin his Pûjâ. Firstly, on the top of the door at one end invoke the Deity Gananâthâ by His mantra, at the other end invoke Sarasvatî by Her mantra and at the middle, invoke Laksmî Devî by Her mantra duly and worship them, with flowers. Then, on the right side worship Gangâ and Bighnes’a; and on the left side worship Ksettrapâla and Yamunâ, the daughter of the Sun. Similarly, on the bottom of the door, worship the Astra Devatâ by the

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Phat mantra. Then consider the whole Mandapa as inspired with the presence of the Devî, and see the whole place as pervaded by Her through and through. Then, repeat the Phat mantra and destroy the Celestial obstacles as well as those from the middle space (Antarîksa); strike the ground thrice with the left heel and thus destroy the Terrene obstacles. Then touching the left branch on the left side of the choukât, put the right foot forward and enter into the Mandapa. Then instal the S’ânti Kumbha (the peace jar) and offer the ordinary Arghya (Sâmânyârgha). Next worship the Vâstunâtha and Padmayoni with flowers and Âtapa rice and the Arghya water, on the south-west and then purify the Pancha Gavya. Next sprinkle all the Mandapa and the entrance gate with that Arghya water. And, while sprinkling with Arghya water, consider the whole space right through as inspired with the presence of the Devî and repeat the Mûla Mantra with devotion and sprinkle with Phat mantra. The Kartâ, then, uttering the mantra “Phat,” is to drive away all the evils from the Mandapa and uttering the mantra “Hûm” sprinkle water, all around, thus pacifying the atmosphere and bringing peace into the hearts of all present.

Then burn the Dhûpa incense inside and scatter Vikira (water, sandal-paste, yava, ashes, Durba grass with roots, and Âtapa rice). Then collect all these rice, etc., again with a broom made of Kus’a grass to the north east corner of the Mandapa; making the Sankalpa and uttering Svasti vâchana (invocation of good), distribute and satisfy the poor and orphans with feeding, clothing and money. Then he should bow down to his own Guru and take his seat humbly on the soft Âsanam allotted to him with his face eastwards and meditate on the Deity (Îsta Deva) of the mantra that is to be imparted to the disciple. After meditating thus, he is to do the Bhûta s’ûddhi (purification of elements) and perform Nyâsa, etc., of the Deya mantra (the mantra that is to be imparted to the disciple) according to the rules stated below, i.e., the Risi on the head; the chhandas in the mouth, the Îsta Devatâ in the heart, Bîja on the anus and S’akti Nyâsa on the two legs. Then he is to make sound thrice by the clap of his palm and thus thwart off all the evils of the earth and the middle space and then make digbandhan (tieing up the quarters) by the mudrâ chhotikâ three times (snapping the thumb and forefinger together ). Then perform the Prânâyâma with the Mûla mantra of the would-be-Îsta-Devatâ and do the Mâtrikâ Nyâsa in one’s own body, thus :-- Om Am namah s’irasi, Om Âm namah on the face, Om Im namah on the right eye, Om Îm namah on the left eye, and so on, assign all the letters duly to their respective places. Then perform the Karânga Nyâsa on the fingers and the Sadanga Nyâsa thus :-- Speak: Om Hridayâya namah, touching on the heart, utter Om S’irase svâhâ, touching the head; Om

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S’ikhâyai Vasat, touching the tuft; Om Kavachâya Hûm, touching on the Kavacha, “Om netratrayâya Vausat,” touching the eye, and “Om Astrâya Phat” touching both the sides of the hand, the palm and its back. Then finish the Nayâsa by doing the Varnanyâsa of the Mûla mantra in those places that are said in the cognate kalpas (i.e., throat, heart, arms, legs, etc.).

O Nârada! Next consider within your body the seat of an auspicious Âsana (a seat) and make the Nyâsa of Dharma on the right side, Jñânam on the left side, of Vairâgyam (dispassion) on the left thigh, prosperity and wealth on the right thigh, of non-Dharma in the mouth and of Non-Jñânam on the left side, Avairâgyam (passion) on the navel, and poverty on the right side. Then think of the feet of the Âsana (the body) as Dharma, etc., and all the limbs as Adharma (non-Dharma). In the middle of the Âsana (body), i.e., in the heart consider Ananta Deva as a gentle bed and on that a pure lotus representing this universe of five elements. Then make Nyâsa of the Sun, Moon, and Fire on this lotus and think the Sun as composed of twelve Kalâs (digits) the Moon composed of sixteen Kalâs (digits) and the Fire as composed of ten Kalâs. Over this make Nyâsa of Sâttva, Râja and Tâmo Gunas, Âtmâ, Antarâtmâ, Paramâtmâ and Jñânâtmâ and then think of this as his Îsta’s altar where the devotee is to meditate on his Îsta Devatâ, the Highest Mother. Nyâsa-assignment of the various parts of the body to different deities which is usually accompanied with prayers and corresponding gesticulations. Next the devotee is to perform the mental worship of the Deya Mantra Devatâ according to the rules of his own Kalpa; next he is to show all the Mudrâs, stated in the Kalpa for the satisfaction of the Deva. The Devas become very pleased when all these Mudrâs are shown to them.

42-46. O Nârada! Now, on one’s left side, erect an hectagon; inside it a circular figure; inside this again a square and then draw within that square a triangle and over it show the S’ankha Mudrâ. After finishing the Pûjâ of the Six Deities at the six corners of the hectagon, Fire, etc., take the tripod of the S’ankha (conch-shell) and sprinkling it with Phat mantra, place it within the triangle. Utter, then, the Mantra “Mam Vahniman dalâya Das’a Kalâtmane Amuka Devyâ Arghyapâtrasthânâya namah” and thus worshipping the S’ânkhya vessel place it within the mandala. Then worship in the S’ankha pâtra, the ten Kalâs of Fire, beginning from the East, then south-east and so on. Sprinkle the S’ankha, conchshell, with the Mûla Mantra and meditating on it, place the S’ankha (conch shell) on the tripod. Repeating the mantra “Am Sûrya mandalâya Dvadas’akalâtmane Amukodevyâ

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