Thursday, 5 April 2018

Continued----------

                                           In all learning centres of any variety in old days the day began  with prayer.   This practice is still prevalent although at higher echelons of learning it has been now abandoned. There are invocatory lines in all the great epics of the world.  Many Odes are prayers of nature-deities.  No religious congregation can be thought of without prayers. The use of prayers as a mantra is therefore self-explanatory.  A prayer in full or culted lines from a prayer or refrains of stirring notes are used as mantras.  They set the proper mood for deep arousal of the dormant constructive energies.  Certain ccessories have been added by the process of prayer -recital which are being used as mantra but as in all kinds of mantras what is needed is the proper mind set and unshakable faith.  In fact prayer mantras  are the most commonly used and perhaps the most effective of all varieties of mantra.  In vaishanava tantra they hold a very important place.  Experts in the treatment of psychosomatic ailments know full well that prayer mantra can be of no less help then the prescribed drugs for effecting proper mental equilibrium and syncretic functioning of nerve orders.  And, having discussed the five categories of our mantra listing, we know come to the last -one i.e.Guru Mantra.  The all- pervasive importance of Guru in tantra sadhana has already been discussed -' it is in that context that the importance of Guru Mantra has to be seen .  Any thing-a syllable, a word, a string of words, a breath-plosion etc.  That comes from the Guru is all-sacrosanct.  It needs no scriptural backing to give it  legitimacy.  A Guru mantra is a Sakti-pata and it opens up the most difficult circuits of the transcendental journey for a sincere  disciple.  Sometime even routine words of pious nature are made mantras of powerful import by the centric energy of the mind.  Not only in Tantra but in Bhakticult as well this truth rules supreme..  It is said that Kabira, not having been accepted as a disciple, lay on the stairs of the Ganges when Ramanand came in the dark of the early morning for a bath.  His foot-steps fell on the lying bodyframe of Kabira and he said involuntarily 'Rama,Rama.'Kabira look up  this mantra, became a Ramanandi and the result were there for all to see.  In certain respects the disciple went beyond his Guru.  There are instances when just an invocatory phrase or call serves the purpose of mantra.  Such an example is that of Matsyandera Nath.  This incident may not have much Historical authenticity but its legendary nature makes it fully convincing.  It is said that the great Matsyanera Nath got lost in the seductive charm of a noble beauty and his tantra powers lay coiled and asleep.  It was Goraksh Nath,the legendary  Hatha yogi and as tradition has it Matsyandera Nath's discriple , who gave a stirring call at the portals of the mansion where Matsyandera lay wasted 'jag Matsyandera , Gorakh Aaya . ( wake up Machhandar, Gorakh gives thee a call).  The four words spoken by Goraksh Nath turned the course of event and one of the greatest Tantrics in India was brought back to his destined field.   Guru mantra, as such , needs no further elaboration.  It rules supreme even today in its pristine glory.
( Contnued in next issue )

Sunday, 1 April 2018

रुलाई क्यों रह -रह कर आती है ?

क्या कहा मर्द हूँ मैं , फौलादी छाती है ,
फिर मुझे रुलाई क्यों रह -रह कर आती है ?

इसलिये कि  मैनें साथ सत्य का लिया सदा,
पर पाया जग का सत्य सबल की माया है |
नैतिकता ताकत के पिंजड़े में पलती है ,
आदर्श छलावे की सम्मोहक छाया है |

मैं बुद्ध गांधी को पढ़ गलती कर बैठा ,
सोचा दरिद्र नारायण हैं , पग पूजूँगा |
अपनी मछली वाली चट्टानी बाहों में ,
ले खड्ग सत्य का अनाचार से जूझूँगा |

थे कई साथ जो उठा बांह चिल्लाते थे ,
समता का सच्चा स्वर्ग धरा पर लाना है |
सोपान नये जय -यात्रा के रचनें होंगें ,
गांधी दर्शन का लक्ष्य मनुज को पाना है |

पर चिल्ला कर हो गया बन्द उन सब का मुख ,
इसलिये कि उनके मुंह को दूजा काम मिला |
हलवा -पूड़ी के बाद ,पान से शोभित मुख ,
दैनिक पत्रों में छपा झूठ का नाम मिला |

वे कहते अब भारत से हटी गरीबी है ,
रंगीन चित्र अब अन्तरिक्ष से आयेंगें |
अब उदर गुहा में दौड़ न पायेंगें चूहे ,
भू कक्षा में वे लंम्बी दौड़  लगायेंगें |

वे कहते बहुतायत की आज समस्या है ,
भण्डार न मिल पाते भरनें को अब अनाज |
सब भूमि -पुत्र लक्ष्मी- सुत बनकर फूल गये ,
दारिद्र्य अकड़कर बैठ गया है पहन ताज |

छह एकड़ का आवास उन्हें अब भाता है ,
गृह -सज्जा लाखों की लकीर खा जाती है |
हरिजन -उद्धार मंच से अब भी होता है ,
हाँ बीच -बीच में अपच जँभाई आती है |

मैं आसपास गिरते खण्डहर हूँ देख रहा ,
सैय्यद चाचा का कर्जा बढ़ता जाता है |
प्रहलाद सुकुल नें खेत लिख दिये मुखिया को ,
धनवानों का सूरज नित चढ़ता जाता है |

चतुरी की बेटी अभी ब्याहनें को बैठी ,
पोखरमल के घर रोज कोकिला गाती है |
क्या कहा मर्द हूँ मैं फौलादी छाती है ,
 फिर मुझे रुलाई क्यों रह- रह कर आती है |

कल के जो बन्धु -बान्धव थे , थे सहकर्मी ,
सत्ता का देनें साथ द्रोण बन भटक गये |
है उदर -धर्म पर बिका धर्म मानवता का
सच्चायी के स्वर विवश गले में अटक गये |

युग -पार्थ मोह से ग्रस्त खड़ा है धर्म -क्षेत्र ,
है उसका क्या कर्तव्य न अब तक भान हुआ |
गाण्डीव शिथिल सो रहा पार्श्व में अलसाया ,
चुप है विवेक का कृष्ण न गीता -ज्ञान हुआ |

ताली पर देकर ताल थिरकते हैं जनखे ,
सत्ता -कीर्तन अब अमर काव्य कहलाता है |
भाषा -भूषा बन गयी , बीन भैंसें सुनती,
हर क्षीण- वौर्य गजलें गा मन बहलाता है |

व्रण -युक्त देह सतरंगी साड़ी से ढककर ,
कविता कामाक्षी कृमि बटोर कर लाती है |
क्या कहा मर्द हूँ मैं फौलादी छाती है ,
 फिर मुझे रुलाई क्यों रह -रह कर आती है ?


दो नावों पर
----------------

मैं रहस्य खोजूं जीवन का
या रोटी की राह तलाशूँ
दो नावों पर पग धर  चलना क्या मुमकिन है ?
मेरे भीतर मछली ,मेढक
मेरे भीतर सारस ,बगुला ,हंस सुहावन
नहीं छिपाकर कुछ रखूँगा
सच कहता हूँ मेरे अन्दर
खों -खों करके खौंख रहा है
जावा का मरदाना बन्दर |
कनखजूर की कोई पीढ़ी ,तिलचट्टे का
पितर अपावन
मेरे भीतर गरम ग्रीष्म है , शीतल सावन
अथ से अब तक मेरा जीवट
अर्बुद कोटि रूप ले आया
अब से इति तक अनगिन केंचुल
छोड़ेगी माटी की काया
पहली शर्त बनें रहना है -पर तारों की राह
छोड़ना पितृ -घात है
अजब बात है
नश्वर माटी ही तारों के बीज संजोये
ज्योति पिण्ड का हिम बन गलना क्या मुमकिन है ?
मैं रहस्य खोजूं जीवन का
या रोटी की राह तलाशूँ
दो नावों पर पग धर चलना क्या मुमकिन है ?
हर उत्तर अबूझपन में खुद प्रश्न बन गया
एक पहेली ही  में तो दिक् -काल घिरे हैं
प्रश्नों का संम्पुजन ज्योति बन नभ में जगता
नील -परस पा प्रस्तर पर निर्वाध तिरे हैं
चल हो जाये अचल चला चल एक रूप हो
रोटी की चल राह अधर तक जा पावें जन 
देह प्राण की कथा सलोनी छाँह धूप हो
हर दर्शन का सार यही क्या ?
कवियों का संसार यही क्या ?
पर खण्डित है युग जन जीवन की परिपाटी
देव -मूर्ति गढ़नें में असफल आज देश की माटी
तन -मन बंट दो भाग हो गये
इसीलिये तो स्वयं सिद्ध है
महल दुमहले आग हो गये
मन -मुराद न मिली मुरादाबाद जल गया
हाय ! मनुज को मनुज स्वयं ही सदा छल गया
धरे हाँथ पर हाँथ किन्तु मैं कैसे बैठूँ
गलत बात है |
 धुप्प रात है
तमस -गर्भ में प्रभा पल रही
नील निलय का रवि बन गलना क्या मुमकिन है ?
मैं रहस्य खोजूँ जीवन का
या रोटी की राह तलाशूँ
दो नावों पर पग धर चलना क्या मुमकिन है ?




Wednesday, 28 March 2018

सार्थक क्षण

दो चार कदम का साथ माँगता हूँ रंगिणि
उत्साह नहीं जीवन भर साथ निभानें का
दो बोल प्यार के मेरे लिये बहुत होंगें
लंम्बी गाथा तो एक बोझ बन जाती है
दो फूल हार के मेरे लिये बहुत होंगें
सतलड़ी पाँव में उलझ -उलझ तन जाती है
वह गीत पिघल वह जाय प्राण जिसके स्वर में
अन्यथा अर्थ क्या प्रिये गीत के गानें का
दो चार कदम का साथ ----------------
बस एक हंसी ही जीवन भर का मूल्य शुभे
बस एक द्रष्टि ही बनती अडिग सहारा है
है एक मिलन ही अन्तिम परिणिति कांक्षा की
प्रिय मुझे टूट कर गिरनें वाला तारा है
इस माटी में जो खिले पुष्प भाते मुझको
उद्योग नहीं आकाश -कुसुम के लानें का
दो चार कदम का साथ ------------------------
बन बनकर मिटनें वाली लहर मुझे भाती
क्षण की सरगर्मी पर जीनें की चाव -मुझे
जो घटता बढ़ता चाँद मुझे वह भाता है
गतिहीन कला से कभी न रहा लगाव मुझे
जब तक प्राणों में प्यास मिलन की तृप्ति मधुर
अन्यथा अर्थ क्या पास प्रिया के जानें का
दो चार कदम का साथ ------------------------
जीवन तो रंगिणि सरिता है नित -प्रवहमान
हर मोड़ गोद में नयी दिशा के सोता है
ऊसर धरती पर रस की छींट विरस होतीं
सफला धरती पर कृषक बीज नित बोता है
जब तक चल पाऊं साथ साथ हो प्राणों का
अधिकार नहीं है झूठे कदम मिलानें का
दो चार कदम का साथ -------------------------
दोहरी जिन्दगी

हूँ एक जिन्दगी साथ तुम्हारे काट रहा
पर एक जिन्दगी और कहीं मैं जीता हूँ
तुम मेरे लिये  किसी की केवल छाँह रहीं
तुमसे चलकर मैं और कहीं पर जाता हूँ
तुमको समेट कर बाहों में सुधि के रथ पर
मैं पास खींचकर और किसी को लाता हूँ
केशों में गुम्फित बेला -पुष्पों की सुगन्धि
वन नीम -मंजरी की सुवास लहराती है
नासा -पुट रख उन केशों में जो पाया था
उसकी सुगन्ध प्राणों से कभी न जाती है
अधरों पर रखे अधर तुम्हारे सच मानों
मैं और किसी की अधर -सुधा को पीता हूँ
हूँ एक जिन्दगी साथ तुम्हारे काट रहा -------
तुमको मुस्कान समर्पित है ,तुम क्या जानों
निः शब्द रात की गहरायी में रोया हूँ
तुम पास पड़ीं परितृप्त -शिथिल जब सो जातीं
बाहों में बंधकर मैं भी कभी न सोया हूँ
विस्मृति के उन अनुराग -क्षणों में कभी कभी
जब अधर - दान देकर मुझको ठगती हो
संवरित लता सी वक्ष -वृक्ष का संम्बल ले
आन्दोलित होकर सोते सोते जगती हो
तब क्या जानों तुम अंक - शायिनी पास पड़ा
रस छींटों से मैं विरस   रेत सा रीता हूँ
हूँ एक जिन्दगी साथ तुम्हारे काट रहा --------
कुछ रूठ कभी तुम कहती हो जब प्राणनाथ ,
तकते ही रहते मुझे सदा कुछ बोलो ना
स्मृति के पंखों पर उड़ आते वही शब्द
' गुमसुम 'से बैठे आज अधर  अब खोलो ना
हूँ बहुत बार लड़ चुका स्वयं से मैं अब तक
इसलिये कि तुमको तुम करके मैं पा जाऊँ
माध्यम बननें की जगह तुम्हीं बन सको लक्ष्य
तुमसे कल का गुजरा संसार बसा पाऊँ
पढ़ सको गीत को आज राज यह कह देना ,
प्रिय , सुषमा होकर भी मैं  ही संगीता हूँ
हूँ एक जिन्दगी साथ तुम्हारे काट रहा
पर एक जिन्दगी  और कहीं मैं जीता हूँ |

Tuesday, 27 March 2018

Continued-------------

                                               Each Devta has a Dibayau Mantra specifically coined and sanctified in the context of that Devata's aura and it gives a description of the form.  Limb by limb ,in which that Devata is to be contemplated and adored in mental worship.  Mantras  can be listed in six broad divisions.  The six broad divisions are self -sanctified or vedic Beej.  Mantras, Ank Mantras , Akshar Mantras , Prayer Mantras, and Guru Mantras.  These divisions as already stressed are not exhaustive but they do cover a comprehensive range leaving elbowroom for specific adjustments.  The power of Mantras has been Universally recognised.  Call them incantations ,invocations, magic words or wordedwings, they have marked their presence in all modes of worship all over the world.  The great epic poet Tulsidas has rightly said that through mantra invocationone can control the divine dispensation.  How small does the mantra look and yet the great Trinity Brahama, Vishnu and mahesha ,and all divine powers are under the spellof mantras.  Does't the little Ankush-Control the mightiest of the elephant even when the heat Code words, monosyllables, mutterings and  lispings can get transformed into all -powerful weapons when charged with the spiritual  current.  When certain words, lines, skutas, richas or slokas are used in divine invocations of sublime nature the get sanctified in the all time-context.  Millenniums after Millenniums they march deathless making  every thing purified that comes in their touch.  These are vedic mantras,the richas of Rigu,Yajana.  Atharva and Sama-they need no accompanying rituals and the reallysincere inward recitation of them can bring about divine goals within one's reach.  There are self sanctified mantras.  Gayatri Mantra is one such mantra which is all coprehensive and is capable of fullfiling any and all desires of a true sadhaka.  It is said that a hundred thousand recitations of Gayatri  and properly conducted sacrificial fire can lead to liberation from all bondages.  There are hundreds of other veda -cults that can be effectively used in different situations of adverse nature such as fighiting a diesease or an enemy. In realization of the faculties of positive nature such as talent , creativity and future sightedness too these self-realized mantras are of immense help.  Beej mantras are mysterious changes that act like missliles on fixed targets.  Siva the supreme is the creator,the nourisher and the destroyer.  As a destroyer he becomes Rudra and sets in motion the cosmic dance of deluge and then in moments of perfect abadon takes up his drumlet-Damru-and whirls it ding -dong,  It is said that fourteen basic sounds-sutras-came out of the whirling purcussion instrument and these fourteen sutra developed in the basis of Sanskrit grammar, The great panini unlocked the mysteries of language with the help of these sound keyes and all languages of Aryan origin owe their evolution to these sutras.  But the sutras-the principal sound vibrations-have greater mysteries attached  to them and they contain the seeds of supreme knowledge.  They are codes and require more than ordinary spiritual insight to look into their true meanings.  The thirty three letters of Devnagari starting from Anga and running upto *are electronic nodes and have endless combination possibilities. Punctuated with nasal emphasis on different variations of vowel Anga these thirty letters can send messages and establish telepathic  comunications with the operating agencies in the universe.  The potencies of these letters have to be realized and that is why Beej Mantras are dangerous in the case of being indiscriminately used.  All of us who have read the records of manned and unmanned travel to space vehicles in the eighties and nineties of the present century know that strange signals are emanating from distant sources in the space.  These signals have been picked up on certain wave lenths but no one till today knows what they stand for. There is no doubt that certain highly intelligent super-operative forces are making efforts to establish contacts with man on the planet earth but the signals are mysterious and defy de-condification.  It should be kept in mind that the signal that man has so far been able to tap though not able to understand form a negligible fraction of the totality of signals in the universe. Beeja Mantras is also trueof Anka  mantras.  Each diety is said to have existential dimensions that can be brought in contact with specific groupings of numericals.  These groupings are prefixed by Anga and suffixed by Anga I bow to thee in utter huminity.  These groupings severally run in odd numbers such as three, five or seven and are supposed to be off full effect only when they are repeated with a set rhythm in a time number frame schedule.  The purity of mind and the cleanliness of surroundings are the additional factors for sure results. A rosary, a deer-skin soread, a cooper jug full of pure water and a regulated breath are other requirements but can be substituted and are not indispensable.  What is a must is total faith and an attitude of nonexpectation.  Akshar Mantras too are set according to the nature of deities just as in the world of man so in the world of   super-sensuous beings individualities have their specific projections.  A diety  may have preference for three , another for thirty three and yet another for thirty six and so forth and so on.  The invocatory mantra of goddess Bagla Mukhi-another popular name for Bharavi Chhinna Masta is in the string sets of thirty six letters and the number thirty six can run into the unit of thousands and lakhs.  The sanctity of thirty six has always to be maintained.  Such practices, obviously , seem to have come in vogue to give specific stresses to certaindeities in specific regions and might be ascribed to a large extent to the caprices of Tantra Gurus.  It is also possible that they may have been adopted  to generate greater faith and a fallacy of individualised attention by Tantra Circles. All prayers are invocatory in nature.
(continued  in next issue) 
Continued--------

                                      Of course , Bhairvanand develops a liking for chandan and writes some-thing that smells of human weakness but that is,another story .  It is for this fall that he gets a chiding from Maya Dee in a way that throws revealing light in different tantric sadhanas Maya Dee scolds in her heavy, loud and hittig voice ' Fie.fie, I would not allow Unworthy conduct in this holy sanctuary.  I have stuck the Trident here after having sit in the midst of scores of human skulls and realizing them.  You are going to sink in the repulsive triangle of sin.  Is It proper for you to leave the Siddhawrata path and take to vamachar-left- handed practice like guru Matsyenderanath. The lines make it clear that the main Tantric Tradition was that of purity,celibacy and detachment. Only vamachar is thought in terms of sex as a ladder towards higher spiritual ascent .  The Philosophy here too was not unsound but the method  certainly was .  In Bankim Chandra 's well-known novelette ' Kapal Kundla '  that saw light in 1866 the portrayal of the Kapalic  is certainly a vamachari portrayal.  If this portrayal is to be taken as authentic presentation of the Tantric Sadhanaa of Kapalic school it will have to be accepted that many undesirable practices hadcrept in, perhaps because of ignorance  of the bublime theories.  It is difficult for modern man to understand the mental-working of those times when rationality and reasoning was mostly confined to the discussion of the nature of divinity and all that one needed to be hailed as great was the strangeness and awe-inspiring nature of rituals one adopted to seek the pleasure of that divinity.  In the light of advanced scientific thought and resultant technology many of the old concepts seem to be childish and one wonders how these beliefs held sway for centuries over the common mind.  The Kapalik in kapal kundla is convinced beyond doubt that without human sacrifice his sadhana would remain incomplete. He takes wine  in a bowl made of human skull and perhaps , he would have deflowered the vary girl he had brought up in the final phases of his frenzy because co-habitation like human sacrifice was considered an integral part of tantric finalit. There are hints to that effect in the novel.  When kapal Kundla shows reluctence to leave his kapalik guardian the priestess of the kali temple  tells her that she was an abandoned child and she had been brought up by the Kapalik only to use her for his Tantric perversions at the right time of sacrifical frenzy.  She-the priestess-also tells her that in certain Tantric sects no realization of the Supreme Sakti can be had without deflowering a virgin.  Of course, she hs no doubt that these practices are anti-religious and abominable and that Ma Sakti never approves of them but they are there and a virgin in thheir circle is sure to lose her chastity.  The  description of the vestment appearance and materials used for Puja is also quite awe-inspiring although repulsive in nature.  This is how the author presents the Kapalik setting in his japa or Dhyana, ' he was around twenty five. His upper part of the body was bare but he had the tiger -skin around the loins.  A string of Rudraksh beads hung around his neck.  The intire face was covered with beard, moustaches and matted hair.  There was a  pile of wood that spread glow all-around because of flames and ambers.  A nauseating smell rent the air.  The kapalik was sitting on a rotting corpse without head.  Nearby lay the skull with dry stains of blood on it.  Bones lay all around and there were bone pieces in the Rudrakshstiring as well.' In fact, after going through the novel one feels that despite the rejection of human sacrifices the author shares the traditional belief that Tantra retuals do lead to spectacular results of supernatural dimensions.  Even the heroine of the novel Kapal Kundla comes under a sort of hallucination and feels that bhairavi is calling on her to make herself available for sacrifice.  And here is the image that Kapal Kundla saw in those moments of intensive living.  She heard the whisper' Daughter, I will lead you to sacrificial ground.'  Kapal Kundla looks up towards the sky and sees a cloud -dark , awe-inspiring yet benign deity.  Blood -drops trickle from the garland of human skulls around her neck.  Around her waist there is a girdle of severed human fingers.  There is human-skull bowel in the left-hand.  Blood streams run on the whole body.  There is bright glow on the fore-head  and crescents make the balls of eyes.'  This is how Bhairavi presented herself to Kapal Kundla .   And she knew by her up bringing and by her inner urge that the only reality and the only emancipator was Bhairavi and to get sacrificed at her altar was in no way amean achievement.  Tradition has its force and the work of reasoning is slow and takes time to cover the distant areas of ignorance.  Aghora Tantra and vamachara have got a hair-raising yet attractive setting in Bankim Chandra's Kapal Kundla.
                                        We have seen how a Kapalik  performs his Puja or  Japa.  But Tantra, atleast the real strain of it ,admits of satvik puja and shooes off all gory practices as rotten tissues.  Puja has its external aspects which is projected in worship of the deity  with various upcharas like flowers incense, offerings etc.  But it is only the first stage.  A Sadhaka  has to turn  inwards.  He is to move to the higher stage of Japa which means meditating on the form of the Devta denoted by the mantra.    Japa should be made in---------
( Continued  in next issue)

Monday, 19 March 2018

Continued------------

                                                          Guhya samaj also commences with the question  what is Bodhi Chitta? posed by the haloed ones to Bhagwan-the Blessed Supreme and then comes the detailed philosphy of kalachakra, of five Buddhas, of five consituent aggregates of the individual and, of course, the answer that the ' Adamantine integration of body,speech and mind hold the key to the highest attainment i.e.Bodhi-Chitta.  The importance of the work consists in the first enumeration of five Dhyani Buddhas whopreside over the five spi-rals of spiritual graph-vairochana, Akshobhya,Ratnaketu, Amitabha and Amogha Siddhis. Kala-Chakrastands for the identification of human body with the universe.  The entire expanse with all its object and events is located really in one's own body and the time with its divisions,hour, day, night, month, year etc. is accommodated in the Pran currents that flow in the network of carriers.  By controlling prana currents the movement of fragmented time can be controlled. Thought alone can not help in this feat. It is the teachique of Pranayam-the graded breath-con-trol fortified by psychic centrality that the desired result can be obtained.  Invocat ory string of words' Om Ah Hum 'serves as a booster and accelerates the process of centrality.  In this way the sadhaka moves towards Maha Mudra " The great seal ' There are many ladders to ascend before the state of ' great seal ' is reached.  The stages of action seal-karam mudra-which impresses the  external reality and mind seal( Dharma Mudra ) which impresses the internal reality are regarded preparatory to Maha Mudra.  With the attainment of Maha Mudra the two earlier  realities get integrated and the Sadhaka attains the most rare state of mental poise.  The roots of the individual's attachment with the world get blasted. His longing  for phycial encasement is no more with him and he lives simply to liberate others from the senses-led earthly existence.  After the attainment of Bodhichitta-one lives for the welfare of others.  He gets identified with the cosmic forces of Nature and the ground he touches with his feet is allowed.  True greatness in spiritual fields can never be bound within the confines of a sect a philosophy or a religion.  It is the flowering of human soul and is independent of geography, History, space and time.  But the number of true greats is not very large and so for the purpose of enlistment and detailed study Tantric  sadhanas have been put to many schools.  In one sach division eight distinct schools of Saiva tantra have been mentioned.  They are Pasupata,Lakulisa, Saiva Siddhanta, Vira Saiva,Nandikesvara, Rasesvara Saiva, Trika Saiva and Vishistadvaitya Saiva of Sri  Kantha.  It would be appropriate to mention here that although Sakta schools form a separate category yet there is so much overlapping that both these schools have been put together, more so because of simillar thought contents and rituals.  Maha Pndit Gopinath kaviraj has listed fourteen Saiva and Sakta schools.  It is a long list but since the very names throw sufficient light on the nature of ritu-als it is useful for a better understanding to give the names.  The fourteen schools are -Kapalika, Kalamukha,Karunika, Kalanala, Jangmarandra,  Bhairva, Bhatta,  Mahavrata, Soma, Vama,  Ksapanaka, Krama and kaula.  There are slight variations in names in certain tantric record,for example , Bhairva is named as Bharavi or Svacchand Bhairva as well.  Acharya  Ksemaraja in his commentary on vijnanabhairva Tantra has praised Kaula Siddhanta but lakshmi Dhar in his commentary on Saundrya Lahari has condemned Kaula philosophy as being anti-vedic and there-fore not acceptable.  Vbviously Kaula philosophy in its practical form had taken to certain rituals that were considered vulgar and impure by traditional  Tantra Pandits and as such it fell from the grace of the high -born.  One more reason that might have contributed to the sliding down of Kaula Tantra was its association with Siddhas and Tantrics coming from the lower ranks of the society.  In all schools of Tantra the element of super natural power forms the central theme.  In Kaula this element got an over -does and that is why it assumed a form that bordered on sorcery,witch-craft and demonolatory.  But as for the Philosophy part of Kuala Tantra it  does have a sound base and can be adjusted as one of the numberless off-schools of post -vedic thought variations.  Kaulacharya Bhairva Nand , Shivshankar  Swami  Nathan , The Tantric Sadhaka of Shivani's Bhairavi has been shown ash-smeared, naked-bodied with long matted hair.  His eyes are blood-shot under the influence of marijuana and perhaps also because  of the intensity of the inner search.  He sits amidst piles of dead human bodies and fondles the hissing cobra.  Lost in the mystic trance he sits stone-like firm and immovable in the cremation ground.  The shooting flames from the burning bodies add to the glow of his face.  Nothing disturbs his mental poise not even aneruption.  Both female co-dwellers Maya didi and Charan -one middle aged yet youthful and the other in early teens-fail to arouse any desire in the heart of Bhairvvanand-the Sahajiya Siddha- who moves naked with the unconcern of a child.  Of course , he gets moved when Chandan , the moon-faced beauty , is introduced in the Aghori settingsof the novel.  But that is a dramatic part of story development.  Indian Mythology offers innumerable examples of deities and saintts who fall prey to the shooting arrows of doe-eyed maidens.  This is what happens to yogi Kumargiri in Chitralekha and we can get examples of this type in the Scarlet letter ( Nathiel Hawthorn), the Thais ( Anatole  France ) and she (Andre Zeid ) .  The philosophy of Bhairvanand is perfectly sound and in line with great Indian thought -pattern.  A look at what he writes in English and gives it to Chandan for translation will make the point amply clear.  ' I am the Lord of all my senses/ all attachments have I shed / Even freedom lures me not / changeless am I formless/And omnipresent / I am Shiva ,Shiva is in me .' And ' into the fire , which is the Supreme self -brightened by the pouring of the ghee of merit and dement -I by the path of sushamna, ever sacrifice the functions of the senses.  Using the mind as the ladle'.  This is philosophy of the soundest order and there is noting Anti-Vedic in it. ( Continued in next issue )