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Hymn to Kālī Karpūrādi-Stotra By HYMN TO K ĀLĪ KARP ŪRĀDI-STOTRA BY ARTHUR AVALON (Sir John Woodroffe ) WITH INTRODUCTION AND COMMENTARY BY VIMAL ĀNANDA-ŚVĀMĪ (Tantrik Texts Series, No. IX) London, Luzac & Co., [1922] PUBLISHERS' NOTE The Orientalists’ system of transliteration has been followed in this work. p. 1 PREFACE THIS celebrated Kaula Stotra , which is now translated from the Sanskrit for the first time, is attributed to Mah ākāla Himself. The Text used is that of the edition published at Calcutta in 1899 by the Sanskrit Press Depository, with a commentary in Sanskrit by the late Mah āmahop ādhy āya K ṛṣ hṇan ātha Ny āya-pañc ānana, who was both very learned in Tantra-Śā stra and faithful to his Dharma. He thus refused the offer of a good Government Post made to him personally by a former Lieutenant-Governor on the ground that he would not accept money for imparting knowledge. Some variants in reading are supplied by this commentator. I am indebted to him for the Notes, or substance of the notes, marked K. B. To these I have added others, both in English and Sanskrit explaining matters and allusions familiar doubtless to those for whom the original was designed, but not so to the English or even ordinary Indian reader. I have also referred to the edition of the Stotra published by Ga ṇeśa-Candra-Gho ṣa at Calcutta in 1891, with a translation in Bengali by Gurun ātha Vidy ānidhi, and commentary by Durg ārāma-Siddh āntav āgīś a Bhatt ācārya. I publish for the first time Vimal ānanda-Sv āmī's Commentary to which I again refer later. When in this Introduction or in the Commentary I have not mentioned these two works my authorities are the Tantras or T āntrik works which I cite, or. the information I have gathered from those whom I have consulted. p. 2 One of the chief features of this Stotra is that it gives the mantroddh āra of the Dakshina- Kālik ā. It not only gives us the Dhy āna , Yantra , Sādhana and Svar ūpa-varnan ā of the Mah ādev ī, but it also contains the chief Mantras of Dak ṣiṇak ālik ā. The adjective " Tava manu-samuddhara ṇajanu " qualifying " idam stotram " in Śloka 21 expressly states this fact. Among the various Mantras of Dak ṣiṇā K ālik ā the greatest is the " Vidy ā-rājñī" consisting of 22 syllables ( Dv āvi ṁsākṣar ī). This mantra gives the fullest and the truest symbol of the Svar ūpa of Her. This mantra is contained in the first five Ślokas. The first Śloka contains Kr īṁ, Kr īṁ, Kr īṁ (3 ak ṣaras ) 2nd „ „ Hūṁ, H ūṁ (2 „ ) 3rd „ „ Hr īṁ, Hr īṁ (2 „ ) 4th „ „ Dak ṣine K ālike (6 „ ) 5th „ „ Kr īṁ, Kr īṁ, Kr īṁ, H ūṁ, H ūṁ, Hr īṁ, Kr īṁ, Sv āhā (9 akṣaras ) So the first five Ślokas give us altogether 22 ak ṣaras i.e. the full Vidy ārājñī. In Vimal ānanda-Sv āmī's Tīkā of the 5th Śloka in the revised Sanskrit text he has proved by quotations from the 9th patala of Śā kt ānanda-tarangi ṇī that this 22-syllabled mantra is the full and true representation of the Svar ūpa of the Mah ādev ī. See the quotation which begins with "Kr īm-kāro mastaka ṃ devi Kr īm-kāra śca lal ātaka ṁ" and ends with "Sv ā-śabdena pada-dvandvam h ā-kāre ṇa nakha ṁ tath ā" The words " Svar ūpa ṁ" (5th sl.) and " Sakala ṁ" (6th sl.) point to this Vidy ārājñī. After the full Vidy ā-rājñī has p. 3 been given in the first five Ślokas, the 6th Śloka gives the various other Mantras of less importance and significance—ranging from one syllabled to nine-syllabled, 15-syllabled, 21-syllabled and so forth. This Mantroddh āra has been made following the authority of K ālik ā-śruti, Niruttara- Tantra and other Tantras. Many commentators, however, have apparently in the view of Vimal ānanda failed to consult the above authorities, and have thus fallen into errors and have given a different Mantroddh āra . Some take the 1st Śloka to give a one-syllabled mantra , the 2nd sloka as also the 3rd, two two-syllabled mantras , the 5th a nine-syllabled one and so on: a view which it is contended is opposite to such passages as " atha haina ṁ brahmarandhre brahma-svar ūpin īm āpnoti . b ṛhad-bh ānu-jāyāṁ uccaret " in the 1st S ūkta of K ālikopani ṣad; or passages in Niruttara-Tantra (Ch. II) beginning with "Atha vaksye Kule śā ni Dak ṣin ā-kalik ā-manu ṁ" and ending with " Sarva-mantra-may ī vidy ā s ṛṣ ti-sthityanta-kāri ṇī." The Sv āmī further refers me to the end of the Kālikopani ṣad where dealing with the various Mantras of the Dak ṣiṇa-Kālik ā it is said "Atha sarv ām vidy ām prathama ṁ eka ṁ dvaya ṁ vā traya ṁ v ā n āmatrayaputita ṁ v ā kṛtv ā japet ." The great T āntrik P ūrṇānanda Giri explaining the passage says " Sarv ām vidy ām-iti p ūrvoktadv āvim śatyak ṣary āh prathama b īja ṁ v ā b īja-dvaya ṁ v ā etc. (vide Śyāmā-rahasya ṁ, Rasikamohan's edition, p. 36.) From the above consideration, it is clear that at the very beginning in the first 5 Ślokas the 22-syllabled Mantra is given and then the others. It may be added here that the fact of Mah ākāla's composing the Hymn in 22 Ślokas not more nor less—is also an indication of the correctness of the Sv āmī's view, who, in further support of it cites 5 Ślokas dealing with the Mantroddh āra from the Krama-stava of the p. 4 [paragraph continues] Dak ṣiṇa-Kālik ā under the first 5 Ślokas of the Karp ūrādi, which will be found in the printed text. In course of revising his Vy ākhy ā Vimal ānanda-Sv āmī has in the first six Ślokas given good grounds to prove that the Stotra not only contains the Mantroddh āra and the Sādhana of Śrī-Śrī-Dak ṣina-Kālik ā but also in it are given the Mantras and Rahasyap ūjā of Śri-Śri-Tārā and Śrī-Śrī-Tripura-sundar ī. In addition to the Mantroddh āra the following matters are contained in the Stotra . No. of Slokas Dhy āna 1, 2, 3, 4, 5, 6, 7, 8, 11 Yantra 18 Sādhana 10, 11, 15, 16, 17, 18, 19, 20 Madya 13 Māṁsa 19 Maithuna 10 Phala-Śruti 21, 22 The Ślokas 9, 12, 14 contain stuti only. Ślokas 10, 15-18, 20 refer to the T āntrik vīrācāras ādhana . Vīrācāra is for the class of sādhaka who are vīrabh āva and abhi ṣikta . To those who follow pa śvācāra this ritual is strictly forbidden. The nature of the rahasyap ūjā is indicated in the text, to which I have added an explanatory commentary in English and Sanskrit. To the Pa śu, sādhana by night is prohibited, for it connotes in Śā kta-sādhana, worship with the Pañcatattva . The Pa śu is still bound by the pāś a (bonds) of desire, etc., and he is, therefore, not adhik ārī, for that which, if undertaken by the unfit, will only make these bonds stronger. For him, on the contrary, there are severe restrictions in this matter, for, as the Śā ktakrama cited by the commentator says, " Maithuna ṁ tatkath ālāpa ṁ tadgo ṣṭ hīṁ parivarjayet ." p. 5 [paragraph continues] (The Pa śu should avoid maithuna , conversation on the subject, and the like.) The Pa śu should avoid the eight forms of maithuna known as aṣtāṅga maithuna — viz., smara ṇaṁ (thinking upon it), kīrtanam (talking of it), kelih (play with women), prek ṣaṇam (looking upon women), guhyabh āṣaṇaṁ (talk in private with women), sa ṁkalpah (wish or resolve for maithuna ), adhyavas āyah (determination towards it), as well as kriy āni ṣpattih (actual accomplishment). The Nity ā Tantra, which the commentator cites, says: " Rātrau naiva yajed devi ṁ sandhy āyāṁ v ā’par āhnake "—"He (the Pa śu should never worship the Dev ī during the latter part of the day or in the evening or at night." To this, from amongst many other authorities, I may add the Svatantra, which says that the Pa śubh āva S ādhaka should do one lakh of japa in day time and that a Vīra devoted to his own Ācāra should do one lakh of japa at night; Pa śubh āvarato mantr ī div ā lak ṣa japa ṁ caret. Sv ācāranirato viro r ātrau lak ṣa japa ṁ caret . In connection with this verse I must observe that in the notes to verse 20 it is said that the first half of the 20th Śloka is meant for " Pa śus ādhakas " and that the 2nd half refers to the "pūrṇābhi ṣiktav īras ādhaka ," as also that the word " para ṁ" (afterwards) means and refers to the time when the ‘Pa śu’ having received abhi ṣeka enters vīrācāra and is adhik ārī for the midnight pura ścara ṇa. Vimal ānanda tells me that this is wrong and that the whole Śloka has reference to the vīra or divya-sādhaka and that no portion of it refers to the Pa śu-sādhaka . The quotation just made from the Svatantra-Tantra no doubt seems to lend support to the view that the first part of the Śloka refers to the Pa śu, but he informs me and I fully accept the correction that he and other followers of the Śā stra knew the passage to bear a meaning which is consonant p.
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