Sat-Cakra-Nirupana – 1

Preliminary Verse

Atha tantrānusāreṇa Ṣaṭ Cakradi kramodvataḥ
Ucyate paramānanda-nirvāha-prathamāṅkuraḥ

Now I speak of the first sprouting shoot (of the Yoga plant) of complete realization of the Brahman, which is to be achieved, according to the Tantras, by means of the six Cakras and so forth in their proper order.

Realization = nirvāha, lit., accomplishment.

The Muladhara Cakra

Verse 1

Merorbāhyapradeśe śaśi mihirasire savyadakṣe niṣaṇṇe
Madhye nādī suṣuṁnātritaya-guṇamayi Candrasūryagnirūpā.
Dhattūra-smera-puṣpagrathita-tamavapuḥ kandamadhyacchirahstā
Vajrākhyā meḍhradeśā cchirasi parigatā madyamessyā jvalanti.

In the space outside the Meru, placed on the left and the right, are the two Sirās, Śaśī and Mihira. The Nadi Susumna, whose substance is the threefold Gunas, is in the middle. She is the form of Moon, Sun, and Fire; Her body, a string of blooming Dhatura flowers, extends from the middle of the Kanda to the Head, and the Vajra inside Her extends, shining, from the Medhra to the Head.

Meru = spinal column.
Sirās = nadis, i.e., subtle channels for energy.
Kanda, lit. bulb, located in the perineum.
Medhra = penis.

Verse 2

Tanmadhye citriņī sā praṇavavilāsitā yogināṁ yogagamyā
lūtātantūpameyā sakalasarasijān merumadhyāntarasthān.
Bhittva dedipyate tad-grathana-racanayā śuddha-bodha-svarūpā
tanamadhye brahmanāḍī haramukha-kuharadādi-devāntarātmā.

Inside her [Vajra] is Citrini, who is lustrous with the lustre of the Pranava and attainable in Yoga by Yogis. She (Citrini) is subtle as a spider’s thread, and pierces all the Lotuses which are placed within the backbone, and is pure intelligence. She (Citrini) is beautiful by reason of these (lotuses) which are strung on her. Inside her (Citrini) is the Brahma-nadi, which extends from the orifice of the mouth of Hara to the place beyond, where Adi-deva is.

Pranava = the mantra Om.
The Brahamanadi is the hollow space inside Citrini; they are not two separate nadis.
Orifice of the mouth of Hara = the opening at the top of the SvayambhuLinga in the Muladhara.
Adi-deva = the supreme Bindhu in the pericarp of the thousand-petalled lotus.

Verse 3

Vidyanmālā-vilāsā manimanasilasat-tantu-rūpa susūkṣmā
śuddhajṅanaprabhodhā sakala-sukha-mayī śuddha-bodha-svabhāvā.
Brahma-dvāraṁ tadāsye pravilasati sudhādhāragamya-pradeśaṁ
Granthi-sthānaṁ tadetat vadanamiti suṣuṁnākhya-nadyā lapanti.

She [Citrini] is beautiful like a chain of lightning and fine like a (lotus) fibre, and shines in the minds of the sages. She is extremely subtle; the awakener of pure knowledge; the embodiment of all Bliss, whose true nature is pure Consciousness. The Brahma-dvara shines in her mouth. This place in the entrance to the region sprinkled by ambrosia, and is called the Knot, as also the mouth of Susumna.

Bliss = sukha.
Consciousness = Suddha-bodha-svabhava.
Braham-dvaram = door of Brahaman, through which Kundalini passes.
Knot = Granthi-sthanam; the place where Susumna meets Kanda.
Ambrosia = Sudha; it flows from the union of Siva and Sakti.

The last sentence is reproduced accurately here from the printed original, despite its defective syntax.

Verse 4

Athādhārapadmaṁ suṣuṁnākhya-lagnaṁ
Dhvajādho gudordhvaṁ catuh-śoṇa-patraṁ.
Adhovaktramudyat-suvarṇābhavrṇaih
Vakarādisāntair yutaṁ veda-varṇaih.

Now we come to the Adhara Lotus. It is attached to the mouth of the Susumna, and is placed below the genitals and above the anus. It has four petals of crimson hue. Its head (mouth) hangs downwards. On its petals are the four letters from Va to Sa, of the shining colour of gold.

Adhara Lotus = Muladhara-Cakra, the root cakra, the lowest one, located in the perineum.

Verse 5

Amuṣmin dharāyaś-catuṣkoṇa-cakraṁ
Samudbhāsi śūlāṣṭakairāvṛtaṁ tat.
Lasat pītā-varṇaṁ tadit-komalāngaṁ
Tadante samāste dharāyāḥ svabījaṁ.

In this (Lotus) is the square region (Cakra) of Prthivi, surrounded by eight shining spears. It is of a shining yellow colour and beautiful like lightning, as is also the Bija of Dhara which is within.

Prthivi = earth element.
Yellow is the color of the earth element.
Bija of Dhara = Bija of Prthivi, the earth Tattva or “Lam.”

Verse 6

Cuturbāhu-bhūṣaṁ gajendrādhi-rūḍhaṁ
tadaṅke navīnārka-tulya-prakāśaḥ.
śiśuḥ sṛṣṭkārī lasadveda-bāhuḥ
mukhāṁbhojalakṣmiś-caturbhāgabhedaḥ.

Ornamented with four arms and mounted on the King of Elephants, He carries on His lap the child Creator, resplendent like the young Sun, who has four lustrous arms, and the wealth of whose lotus face is fourfold.

This is the Dhyana of the Dhara-Bija. The Dhara-Bija is identical with that of Indra.

Verse 7

Vasedatra devī ca ḍākinyabhikhyā
lasadeva bā-hūjjvalā rakta-netrā
Samānoditāneka-sūrya-prakāśā
prakāśaṁ vahantī sadā śuddha-buddheḥ

Here dwells the Devi Dakini by name; her four arms shine with beauty, and her eyes are brilliant red. She is resplendent like the lustre of many Suns rising at one and the same time. She is the carrier of the revelation of the ever-pure Intelligence.

Ever-pure intelligence = sada suddha-buddeh; even people ignorant of Sanskrit can recognize the poetic quality of this phrase.

By meditating on Dakini-Sakti, the presiding divinity of this region, one acquires suddha-buddheh — i.e., tattva-jnana or pure intelligence.

Verse 8

Vajrākhyā viaktradeśe vlasati satataṁ karṇikā-madhyasaṁsṭhaṁ
koṇaṁ tat traipurākhyaṁ taḍidiva vilasat-komalaṁ kāmarūpam
kandarpo nāma vayur nivasati satataṁ tasya madhye samantāt
jīveśo bandhu-jīva-prakaramabhί-hasan koṭisūrya-prakāśaḥ

Near the mouth of the Nadi called Vajra, and in the pericarp (of the Adhara Lotus), there constantly shines the beautifully luminous and soft, lightning-like triangle which is Kamarupa, and known as Traipura. There is always and everywhere the Vayu called Kandarpa, who is of a deeper red than the Bandhujiva flower, and is the Lord of Beings and resplendent like ten million suns.

Vayu called Kandarpa = a form of apana; Kandarpa is a name of Kama, the deva of love.

Verse 9

Tanmadhye lingarūpī druta-kanaka-kalā-komalaḥ paścimāsyah
Jñāna dhyānaprakāsaḥ prathamakisalayākārarūpaḥ svayṃbhuḥ
Vidyupūrṇēṇdubimba-prakara-karacaya-snigdha-saṁtānahāsī
Kāsīvāsī vilāsī vilasati saridāvartarūpaprakāraḥ

Inside it (the triangle) is Svayambhu in His Linga-form, beautiful like molten gold, with His Head downwards. He is revealed by Knowledge and Meditation, and is of the shape and colour of a new leaf. As the cool rays ot lightning and of the full moon charm, so does His beauty. The Deva who resides happily here as in Kasi is in forms like a whirlpool.

Svayambhu in His Linga-form = the self-originated in the form of a phallus.
Shape and color of a new leaf = like an unopened blue-green bud, according to commentators.
Knowledge = jnana
Meditation = dhyana
Kasi = Siva’s favorite abode; the meaning is that the deva is as happy here as he is in Kasi.
“Whirlpool” refers to a depression on the top of the linga.

Verses 10 and 11

Tasyordhve bisatantu sodara-lasat sūkṣmā jaganmohini
brahmavāramukhaṁ mukhena madhuraṁ saṁchadayanti svayaṁ
śakāvarta nibhā navīna capalāmālā vilāsāspadā
suptā-sarpasaṁā śvopari lasāt sārdha-trivṛttākṛtiḥ

Kūjantī kulakuņdalī ca madhuraṁ mattalimālā-sphuṭaṁ
vācāṁ komalakāvya-bandaracanā bhdātibheda-kramaiḥ
śvāsocchvāsa-vibhañjanena jagatāṁ jīvo yayā dhāryate
sā mūlāmbuja gahvare vilasati proddāma-dīptāvaliḥ

Over it [Svayambhu-Linga] shines the sleeping Kundalini, fine as the fibre of the lotus-stalk. She is the world-bewilderer, gently covering the mouth of Brahma-dvara by Her own. Like the spiral of the conch-shell, Her shining snake-like form goes three and a half times round Siva, and Her lustre is as that of a strong flash of young strong lightning. Her sweet murmur is like the indistinct hum of swarms of love-mad bees. She produces melodious poetry and Bandha and all other compositions in prose or verse in sequence or otherwise in Samskrta, Prakrta and other languages. It is She who maintains all the beings of the world by means of inspiration and expiration, and shines in the cavity of the root (Mula) Lotus like a chain of brilliant lights.

“World-bewilderer” because Kundalini is maya in this world.
Bandha = type of literary composition in which the verse is arranged in a diagram or picture.

Verse 12

Tanmadhye paramā kalātikuśalā sūkṣmātisūkṣmā parā
Nityānada paraṁparātivigalat pīyūṣa-dhārādharā
Brahmāņḍādī katāhameva sakalaṁ yadbhāsayā bhāsate
seyaṁ śrī parameśvarī vijayate nityaprabhodhodayā

Within it [Svayambhu-Linga, round which Kundalini is coiled] reigns dominant Para, the Sri-Paramesvari, the Awakener of eternal knowledge. She is the Omnipotent Kala who is wonderfully skilful to create, and is subtler than the subtlest. She is the recepttacle of that continuous stream of ambrosia which flows from the Eternal Bliss. By Her radiance it is that the whole of this Universe and this Cauldon is illumined.

Universe = brahmanda, i.e., egg of Brahma
Cauldon = kataha, that is, the lower half of the Brahmanada, and as such cauldron-shaped.

Verse 13

Dhyātvaitan-mūlacakrāntaravivaralasatkoṭisūryaprakāśāṁ
Vācāmēśo narendrah sa bhavati sahasā sarvavidyāvinodī
Ārogyaṁ tasya nityaṁ niravadhi ca mahānandaittāntarātmā
Vākyaiḥ kāvyaprabandhaiḥ sakalasuragurūn sevate śuddhaśilaḥ.

By meditating thus on Her who shines within the Mula-Cakra, with the lustre of ten million Suns, a man becomes Lord of speech and King among men, and an Adept in all kinds of learning. He becomes ever free from all diseases, and his inmost Spirit becomes full of great gladness. Pure of disposition by his deep and musical words, he serves the foremost of the Devas.

Foremost of the devas = Brahma, Visnu, Siva, etc.

About Sunday morning
Contemplation

Sunday Morning Contemplation is informed by Eastern and Western contemplative traditions. The first, lectio divina has its origins in 6th century Europe. It unfolds in four steps or stages: reading (lectio), reflecting (meditatio), responding (oratio), and silent abiding (contemplatio). Our Eastern inspiration come from the Indian Upanishads (800-200 BCE), where contemplative practice consists of three steps or stages: listening (śravana), reflecting (manana), and meditating (nididhyāsana or dhyāna). Our contemplative practice on Sundays embraces both approaches, and each contemplation will be based on a reading from either tradition.

The texts and teachers I have chosen played a significant role in my life and I believe have much to offer. I will read presellected texts, slowly, with pauses between verses or quotes. The readings will be accompanied by soothing background music. To lessen distraction, I suggest participants close their eyes and listen. However, the screen will display the text so that people can choose to read along or mute the sound and read on their own. If there is time remaining after the contemplative period, participants can choose to either leave or stay for a short discussion.

As a preface to the reading, I will provide a 10-15 minute introduction to the text. When relevant, I’ll review facts about the author/teacher’s life. I will also present a brief explanation of the terms and language encountered in the reading.

Finally, when the contemplation is over, all texts read will be available online to read and/or download at any time on the website.

What I mean by
The Symbolic Life

This website makes liberal use of classical Indian visual art and refers mostly to traditional Indian texts (for example, the Upanishads, Bhagavad Gita and Yoga Sutras) in the courses, seminars, and discussions on offer. However, I am not presenting lessons in Hinduism; in fact, teaching mainstream Hinduism is neither my area of interest nor expertise. Rather, my interest in Yoga and Tantra is grounded in the concrete situation in which we find ourselves, in the places where we arrive and from which we depart. Beginning in the here and now, we will explore the underlying meaning of the symbols, stories, images, philosophies, and techniques found in Indian philosophical texts and practice, in light of our world and our current circumstance. We will excavate the meaning of the aphorisms and teaching stories; the symbolic figures of gods, people, and nature; and the sometimes terse, sometimes poetic, philosophy of the texts. Thus, in referring to the Symbolic Life of Yoga and Tantra, I mean not just the symbols themselves, but the rich explication of life that the symbols represent.

Our lived, concrete situation is wonderfully captured in the Sanskrit word loka, whose ancient meaning is “the world.”  The root meaning of both the Sanskrit loka and the English locate (and local, locale, and location) is identical. In the ancient Indian mind, the world is where we are located, in our current circumstance. Thus, the meaning of the symbols of Yoga and Tantra can occur only in the now, in the places where we find ourselves, and not in any imagined ancient and/or foreign world.

To emphasize our place of origin and return, I use the terms “archetypal” and “symbolic” quite frequently. Archetypal meaning is associated with the universal and collective aspects of human experience—what we intimately share with all others regardless of culture or era or epoch—while symbolic language forms a bridge between the realms of the universal with the culturally specific and local. Symbols are the scaffolding upon which human beings build a world and imbue it with meaning.

Think for a moment of pain and pleasure, sorrow and joy, hatred and love, and greed and generosity—universal experiences that ancient Indian thinkers called the dvandva-s. This Sanskrit term is a combination of two words, or rather, one word spoken twice: the word dva (meaning the same as the English “two”) duplicated. Dvandva is commonly translated as “the pair of opposites” or literally “the two-twos” (dvadva). The ancients who coined this compact symbol gave voice to an archetypal human experience that can be further unpacked to reveal deep insights into the human condition. Once we gain an understanding of the various symbols of Yoga and Tantra, we can further excavate their meaning and the archetypes they convey, and thus gain access to, in a practical and meaningful way, the vision of life experienced by the sages. These insights are available to us and are still relevant today, as are the resilient and adaptable techniques and forms of practice that can help us lead richer and more fulfilling lives