Monday 24 December 2018

THE PARADOX OF OUR TIME




THE PARADOX OF OUR TIME



1. We live in times where we see many humans, but not enough humanity.

2. We live in times where the rich has more rooms than children and the poor has more children than rooms.

3. We live in times where Smart Phones bring you closer to those who are far, but distance you from those who are close.

4. We live in times where we open Facebook, more than the Holy Book.

5. We live in times where a single mother can look after 10 children, but 10 children can't look after a single mother.

6. We live in times where the rich walk miles to digest food, while the poor walk miles to obtain food.

7. We live in times where our contact lists are huge, but our relationships are poor.

8.We live in times where our possessions are more, but our contentment is less.

9 We live in times where we know how to earn a good living, but somehow forget how to live a good life.

10 We live in times where many know the price of everything, but  the value of nothing.

11. We live in times where artificial flavours are used in lime drinks and real lime is used in finger bowls...

The #paradoxes listed above are actually statements of facts of our today's life patterns. A sad commentary of our #attitudes towards living, which have become so artificial and unreal, totally devoid of content and deep commitment... 
Indeed, we live in a strange world.

          (forwarded by a friend)



Thursday 9 August 2018

Personifying Womanhood: A comparative study of Desdemona and Shakuntala.

                                            Personifying Womanhood: 
                        A comparative study of Desdemona and Shakuntala




Abstract - Not falling into the trap of discussion on (Indian as well as western) feminism, the paper discusses how Desdemona and Shakuntala are the very image of womanhood. Womanhood can roughly be defined as the qualities considered to be natural to or characteristic of a woman. The character of Desdemona represents a woman of the 17thcentury England, while Shakuntala represents a woman of the 5thcentury India. This comparison between east and west is quite interesting. They both chose the man they want to marry and follow the destiny that is quite different. Both are stunningly beautiful, gentle, soft-spoken and radiating youth and elegance. The character of Desdemona in Othello (Shakespeare) and Shakuntala in Abijnana Shakuntalam (Kalidasa) are obedient yet at the same time strong and intelligent. But the characters also point out to the fact that purity of a woman has always been a highly prized virtue, both in Eastern and Western cultures. Both women belong to different country, age, religion and culture. Both are epitome of beauty, virtue, innocence, purity, patience, honesty and trust that is quite typical of the characteristic that are traditionally given to women in society. Consequently, study of both the characters reveals that there are more similarities than differences between their attitudes towards life and love and duty. Love, honor, duty may have different meaning in both cultures but they have corresponding aspirations.

Key Words – #womanhood, #Desdemona, #Shakuntala


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Study of comparative literature aims to trace the transformation and travel of literary genres and texts across time and space. It also explores the acquaintances of literature with history, philosophy, politics, and literary theory.  Today the intersection of literature with other cultural forms such as film, drama, the visual arts, music, new media etc. has become very popular. In this age of globalized, translation studies have also become an important part of the comparative approach to literature. Thus, the comparative study explores literature beyond and across the boundaries of nations, languages and culture. As a result, the comparative field is a highly dynamic, interdisciplinary and collaborative attempt. Consequently, in the age of globalization as we talk about universal feelings and universal expression, the idea of comparative study is not new. Here, it is appropriate to mentions that the name of Bankim Chandra. His essay on Shakuntala, Miranda and Desdemona which appeared in 1873 was in all probability the first comparative study, between English and Sanskrit Drama.

This paper attempts to make a comparative study of two important women characters - Desdemona and Shakuntala. Both belong to difference country, age, religion and culture, yet present a similar approach in their attitude towards love and duty and are the personification of womanhood. At this juncture, it will be appropriate to say a few words that define Womanhood. In a broader sense Womanhood can roughly be defined as the qualities considered to be natural to or characteristic of a woman. In west, The Cult of True Womanhood is a phrase that Barbara Welter uses to define the prevalent philosophy towards women in America during the mid-19th Century. (The Cult of True Womanhood: 1820-1860). This 1966 essay has become a predominant scholastic source for feminist and deconstructionist literary critics. The philosophy, which she portrays as a particular set of demands and expectations, is founded upon four beliefs: Piety, Purity, Submission, and Domesticity.

In fact, the doctrine of Piety, Purity, Submission, and Domesticity has been the passageway for women throughout the ages in nearly all parts of the world, and they continue to hold influence in many cultures and sub-cultures across the world. The Bible also states-

So God created man in his own image, in the image of God he created him; male and female he created them. (Genesis 1:27 Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc. )

While eastern views on womanhood are reflected in the words of Swami Vivekananda-

 …the whole force of womanhood is concentrated in motherhood ….The ideal of womanhood in India is motherhood — that marvelous, unselfish, all-suffering, ever-forgiving mother.
 
Women in Hindu culture have been accorded a respectable status in the society. The woman was regarded as having an equally important share in the social and religious life because a man without woman was considered as an inadequate person. There were women scholars who composed hymns of RigVeda. Lopamudra, Gargi and Maitreye were the pioneers among them. Lopamudra, the wife of Agasti rishi, composed two verses of RigVeda. Most of the female characters of Ramayana and Mahabharata were also well educated and had all freedom. But here also the quality of purity, innocence, patience, honesty and trust are considered to be very important.
 
The character of Desdemona in Othello by Shakespeare represents a woman of the 17thcentury England, while Shakuntala in Abijnana Shakuntalam by Kalidas represent a woman of the 5thcentury India. This comparison between east and west is quite interesting. Desdemona and Shakuntala both stand for all that are beautiful in womanhood. Both are epitome of beauty, virtue, innocence, purity, patience, honesty and trust that is quite typical of the characteristic that are traditionally given to women in society. Both Desdemona and Shakuntala risk their honour as a woman for the love of a man, and yet they would not take one harsh word that goes against her dignity from that man. They have the softness of the softest flower and yet they are as fierce as fire itself. They have the strength that knows how to bend. Both have the courage to trust. And also have silence that knows how to be expressive when the need arises.

In Othello Desdemona, is introduced as a coy and blushing girl, who turned away the well-groomed Venetian gallants, listens in rapt attention to the romantic stories of Othello’s life.  Her father describes her as –
                                A maiden never bold
                                Of spirit so still and quite, that her motion
                                Blush’d at herself;
                                (Act I Sc- III)





In the same Act Othello also confesses that –

She love’d me for the dangers I has pass’d,
And I love’d her that she did pity them


In her choosing of Othello as her husband, she exercises her own desire, marries him without parental consent. This is a rather courageous act of will, which could have resulted in much strife. However, she handles the situation with cleverness. With her modesty and gentleness are combined firmness of will and clearness of purpose. When her father questions her about her marriage she answers forcefully, first pacifying him and then justifying her disobedience on the very grounds of patriarchal obedience and duty -

. . . My noble father,
I do perceive here a divided duty.
To you I am bound, for life and education . . .
You are the lord of my duty,
I am hitherto your daughter. But here's my husband,
And so much duty as my mother showed
To you preferring you before her father,
So much I challenge that I may profess
Due to the Moor my lord.

Desdemona thus by her cleverness appears obedient in her disobedience.

Desdemona is also innocent and pure, if she had grasped the worldly perception, which Emilia has, she might have prevented the disaster. She makes a blunder in engaging herself to solicit Cassio. Her innocence is such that she does not have any idea that her action might be misrepresented. A woman of the world would have taken the hint, but she does not. Iago, in spite of himself, clearly tells this –

She is so free, so kind, so blessed a disposition,
she holds it a vice in her goodness not do more than she is required
(Act 11 Sc-111)


When she is charged with infidelity she only says –

His unkindness may defeat my life,
But never taint my love.
(Act IV Sc-II)

She seemed to have lived for Othello. Apart from him she has no other interest in life. Her goodness furthermore is not simply submissive or weak but an act of will. The above quote could be said to summarize the character of Desdemona. Her own words predict her death, yet her love for her husband keeps her from seeing the truth of this statement.

Desdemona’s refusal to blame Othello for his awful treatment of her, when he suspects her of betrayal, must not be viewed as simple subservience but as a determined refusal to accept a bad opinion of the husband she has chosen. She believes that Othello is incapable of jealousy –

…….My noble Moor
Is true of mind and made of no such baseness
As jealous creatures are …..
(Act III Sc-iv)

When he is behaving shockingly towards her, she refuses to acknowledge his identity - My lord is not my lord, she says, should I know him / Were he in favour as in humour altered. She stands by her acceptance of her love for him as something sacred, with a martyr-like will-power. That is why she tells Emilia his unkindness may defeat my life, / But never taint my love. She thus obeys her own heart rather than patriarchal rules, extending this determination through to death, so that with her last breath - when Emilia asks - who hath done this deed? She replies - Nobody, I myself. Thus by claiming this death for herself she re-affirms her selfhood and womanhood.  Symbolically she dies for her love which cannot be tainted. Her death can perhaps be seen as an act of pativrata women.

Accordingly, Desdemona is an embodiment of the perfect woman. She is loyal and trusting, innocent and pure, and her inner beauty is only matched by her outer experience. Her somewhat native personality nevertheless, leaves her exposed to the more worldly persons, those who have learned how to take advantage of others through experience. What at the outset attracts many to Desdemona ultimately proves to be her downfall, and her inexperience with the tribulations of the world leads to her demise.

Likewise, Shakuntala also stands as a personification of sweetness and strength. Bred in the ashram, amid nature, there is innate simplicity and purity in her character. She yields to impulse of love, yet with the maiden’s modesty would rather suffer in silence than speak of her passion. She is trustful, forgiving and kind to her husband, in spite of the cruelest breach of confidence.

Shakuntala is the gracious ashram hostess who receives the honored visitor Dushyanta who has just entered Saint Kanva’s ashram. She is Kanva’s adopted daughter; she is born to sage Vishwamitra and the beautiful Apsara Menaka.  Beautiful and pious Shakuntala is fascinated by the grace and charm of Dushyanta. He is also mesmerized by her beauty.-

The meanest ventures glows
On beauty that enchants:
The lotus lovelier shows
Admid dull water-plants;

The moon in added splendor
Shines for its sport of dark;
Yet more the maiden slender
Charms in her dress of bark
(Act I)

King Dushyanta as he sees Shakuntala for the first time from behind the trees, he says-

A lotus is beautiful even if it is in the midst of muck; the blemish on the moon, despite its darkness, only highlights the moon’s lustre; her simple bark attire only enhances the loveliness of this maiden.  Indeed, what will not serve as a decoration for something that is intrinsically beautiful? (Act I)

Priyamvada observing Shakuntala standing near the mango tree says that she looks like a vine by the side of the tree. King Dushyanta finds this remark appropriate –

Her arms are tender shoots; her lips
Are blossoms red and warm;
Bewitching youth begins to flower
In beauty on her form.

 He is struck by her rare charm and they secretly marry – gandharave vivaha.

This young woman who grew up in an ashram does not know what fear is. She does not know what disloyalty is, what flaw is. She has received the best possible upbringing, in an atmosphere of love, compassion, truth and fearlessness. When she arrives at the royal place, she does not care she is standing in the court of a powerful king. She is not bothered that the king’s ministers and nobles are listening to her.
In the Fifth Act, when she is openly discarded by the king as he does not remember having married her, she never for once loses her love for her husband, and does not fail to remember her duties as a married woman towards him. She leads an ascetic’s life during her separation, ever keeping the image of her beloved husband in her heart. Her patience is skillfully demarcated here. She does not lose her valor at the King’s denial. Controlling her feelings, she graciously and patiently tries her best to remind Dushyanta of the earlier incidents. She blames her fate and misfortune for her disappointment and never utters a word against her husband.

She also is full of self- respect, she tells Dushyanta that she has not come to him for his charity as she does not need any of it. What she demands is justice and what is hers by right. In fact, she herself does not need even that. She is perfectly willing to go back to the ashram from where she has come, as she knows that she will always be welcome there. She does not care for the comforts of the palace as such things do not lure her. She needs just one thing - that his child to be acknowledged as his. And she warns him of dire consequences if he ignored her.

Only once and that too when Dushyanta passes a remark about her morals, and the morals of her family that she loses her tempers and calls her husband Anarya. Accordingly, she is capable and demonstrates high sense of self-respect and courage to suffer. In the Sixth Act, the discovery of the ring paves the way for the re-union. Here she is ready to forgive her husband. In the last Act of the play when Dushyanta sees Shakuntala, and is full of praise for her devotion and purity -

In a dusty apparel, grey appearing
With a face penance, impaired;
with hair unknotted;
So unkind as I was, yet chaste her bearing
From myself, parted so long, remains devote

Contrary to expectations, the handkerchief in Othello and the ring in Shakuntalam are the two symbols that lead the two women protagonists to their terrible destiny. A gift of true, honest, faithful love by Othello to Desdemona, and Dushyanta to Shakuntala, ultimately becomes a sign of mistrust, and insecurity. Othello and Dushyanta are willing to commit the most horrible of crimes based not upon facts, but upon their faulty interpretation of reality. Both Desdemona and Shakuntala face the destiny because of the gift of love given to them by their beloved. Desdemona is doomed to die while Shakuntala is doomed for an exile. They suffer without any fault of theirs, but in their suffering also they do not compromise on the grace, elegance, honor and duty – the most sought of qualities assigned to womanhood. Bankim Chandra in his essay on Shakuntala, Miranda and Desdemona, praises Desdemona for her unswerving loyalty to her husband and calls her true pativrata. He also says that while Shakuntala was a garden, Desdemona in the depth and complexity of her characterization, was an ocean.

Nonetheless the characters also point out to the fact that purity of a woman has always been a highly prized virtue, both in Eastern and Western cultures. Both women protagonists belong to different country, age, religion and culture. They are epitome of beauty, virtue, innocence, purity, patience, honesty and trust that is quite typical of the characteristic that are traditionally given to women in society. Consequently, study of both the characters reveals that there are more similarities than differences between their attitudes towards life and love and duty. Love, honor, duty may have different meaning in both cultures but they have corresponding aspirations.

I would like to end my paper by a statement by Barbara Welter in "The Cult of True Womanhood: 1820-1860" (1966) that again pauses another question and may promote a different type of comparison and research -

Real women often felt they did not live up to the ideal of True Womanhood…… change and continuity, the True Woman evolved into the New Woman—a transformation as startling in its way…….. she had the best of both worlds—power and virtue—and that a stable order of society depended upon her maintaining her traditional place in it. To that end she was identified with everything that was beautiful and holy…



 

Reference –

1.     http://www.ramakrishnavivekananda.info/vivekananda/volume_8/lectures_and_discourses/women_of_india.htm

2.      Nancy.F. Cott, The Bonds of Womanhood (New Haven, Conn., 1977)

3.      http://shakespeare.mit.edu/othello/full.html

4.      The Shakuntala Epoch in European romanticism and Indian Classicism

(Synthesis, I, 1974, Editura Academiei Române, Bucureşti, pp.187-192)

5.      Ryder, Arthur W. (Arthur William), 1877-1938, trans.: Translations of Shakuntala, and Other Works.

Published in - Approaching Shakespeare through comparative  literature , Saurashtra University Publication, ISBN: 978-93-5291-723-5, First Edition-2017.
















Friday 9 March 2018

Maharishi Abhinavagupt -Tantric perspective and teachings


Pencil sketch by DrMrinalini Thaker

Maharishi Abhinavagupt -Tantric  perspective and teachings 

ABSTRACT - Among  various sages and saints of  Kashmir #Abhinavagupt stands out as a luminous Maharishi, a #shivyogi. The paper is an attempt at re-reading and understanding the #tantric perspective and teaching of a guru who made #Shaivism a way of life, and also a way of merging with the infinite. Traditionally believed to have been a Yoginibhu. Abhinavagupt possessed all the eight Yogic powers explained in #Shastras. The paper discussed his philosophy in Tantraloka and a few qualities that are essential for a tantric. Tantraloka and LantraSar are based on MaliniVijayatantra, (secret knowledge of the MaliniVijayatantra as originally addressed by Siva to Uma). In Tantraloka with minute detail he discusses the development of human consciousness from the grosses state of ignorance to the subtlest state of universal God consciousness. Here he explains the process of creation and evolution of the universe in term of the expansion of Shiva’s consciousness. In details he explains the qualities of a guru, mantras, beej mantras and other rituals that are essential part of Kaul tradition. Nevertheless, understanding Abhinavagupt is an enormous task, and ultimately must be a collective venture.
Key words – #Abhinavagupt, #Kashmir, #Shaivism, #tantraloka.
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 Maharishi Abhinavagupt -Tantric  perspective and teachings

The Kashmir Valley or the Sarhad Desh or the Rishi Vav or the Land of The Blue Forest or the Paradise of Bharatvarsh has borne holy men and women who have preached true mysticism. The Rishivav is situated in the mountain ranges of Himalayas. The term Himalaya as such is a Sanskrit word Hima means snow and Alaya means home. This home of snow has also been a home for wisdom and spirituality. Abhinavagupt paid glowing tributes to Kashmir and calls it the land of learning, beauty and eternal bliss. Today also, in spite of so many terrorist and extremist activities in the valley, this spirituality whispers in the snow-clad mountains and caves of Kashmir.

Rajnish Mishra, in his article “Abhinavagupt and the Shivite tradition of the Sarhad Desh” tells us that the Sarhad Desh, getting erased from the minds of contemporary India is a grim reality. Kashmir, he says is a fading memory. J&K is my hometown and I am optimistic and I fell the current wave of violence in Kashmir seems a temporary phase which will pass away bringing back image of synchronization and love. J & K has a rich legacy of mystics, sages, saints, philosophers and gurus that makes it a paradise of learning. The land also has been a major confluence of various thought streams like the Buddhists, Saivas, Mimansakas, Naiyaikas and the Sufis. While revealing the significance of Kashmir Shaivism our deepest appreciation goes to Lalleshwari, whose teachings give a unique opportunity to have an vision into this mystic philosophy. Other Kashmir saints include Rupa Bhawani, Sheikh Nuruddin, Parmanand, Rishipir, Jeewan Shah,Anandji,  Grata Bab, Ramjoo Tabardar, Vidya Dar, Shankar Razdan, Bhagwaan Gopinath Ji, Kashkak, Sona Kak, Nandlal Ji, Swami Lakshman Joo, Sati Devi and Mathura Devi. Among various sages and saints Abhinavagupt stands out as a luminous Maharishi a shivyogi, who made Shaivism a way of life, and also a way of merging with the infinite.

According to the traditions of Kashmir Saivism, Lord Siva originally established 64 systems, or philosophies, some monistic, some dualistic and some monistic theistic. As the story goes Siva commanded Rishi Durvasas to revive the knowledge. Rishi Durvasas assigned his students to teach the philosophies namely - Tryambaka (the monistic), Amardaka (the dualistic) and Shrinatha (monistic theistic). Thus, Tryambaka at an anonymous time laid a new foundation for Kashmir Saiva philosophy. Subsequently, it is said, Lord Siva Himself felt the need to resolve conflicting interpretations of the Agamas and counter the intrusion of dualism on the ancient monistic doctrines. In the early 800s, Shri Vasugupt was living on Mahadeva Mountain near Srinagar. Tradition states that one night Lord Siva appeared to him in a dream and told him of the whereabouts of a great scripture carved in rock. Upon awakening, Vasugupt rushed to the spot and found 77 clipped sutras engraved in stone, which he named the Siva Sutras. Vasugupt expounded the Sutras to his followers, and gradually the philosophy spread. On this scriptural foundation arose the school known as Kashmir Saivism, Northern Saivism, Pratyabhijna Darshana (recognition school), or Trikashasana (Trika system). Trika, "three," refers to the school's three-fold treatment of the Divine: Siva, Shakti and Soul, as well as to three sets of scriptures and a number of other triads.

Kashmir Saivite literature can be divided into three broad divisions: Agama Shastra, Spanda Shastra and Pratyabhijna Shastra. Agama Shastra includes works of divine origin specifically, the Saiva Agama literature, but also including Vasugupta's Siva Sutras. The Spanda Shastra, or Spanda Karikas (of which only two sutras are left), are both credited to Vasugupta's disciple Kallata (ca 850-900). These elaborate the principles of the Siva Sutras. The Pratyabhijna Shastra's principle components are the Siva Drishti by Vasugupta's disciple, Somananda, and the Pratyabhijna Sutras by Somananda's pupil, Utpaladeva (ca 900-950).

In his illustrious book on Abhinavagupt, Dr. Pandey writes that Abhinavagupt, being a voluminous writer, has to his tribute as many as 41 works. It is likely that he wrote even more than this. His works include Tantraloka, a comprehensive text on Agamic Saiva philosophy and ritual. It was Abhinavagupt whose brilliant and encyclopaedic works established Kashmir Saivism as an important philosophical school. Abhinavagupt known as an incarnation of Bhairava-Nath Shiva was a multitalented genius, a philosopher, rhetorician, and a critic on dramaturgy, who injected new meaning into Shaiva Philosophy. R. K. Jalali rights calls him The Encyclopaedic Scholar. He was a Yoginibhu. Yoginibhu is a typical Kula concept. In the 29th Ahnika called 'Rahasyavidhiprakasana', this concept has been discussed under Dautavidhi (i.e., practice relating to the female messenger). When parents unite identifying themselves with Siva and Sakti giving birth to descendants, the latter who is the Siva-incarnate and instant arsenal of knowledge is designated as Yoginibhu Madhuraja Yogin, a pupil of Abhinavagupt, in the four stanzas entitled the Dhyanaslokah, which give us a vivid picture of his great master. Of his creative powers he writes that, Lord Shree-Kantha-Nath Shiva Himself appeared in Kashmir in the form of Abhinavagupt to enlighten the people. Madhuraja also asserts that Abhinavagupt was, in fact, the incarnation of Bhairava-Nath Shiva. He had achieved the eight great siddhi powers (Aṇimā, Mahima, Garima, Laghima, Prāpti, Prākāmya, Iṣiṭva, Vaśitva) and he also exhibited the six illustrious spiritual signs: constant devotional attachment to Shiva; full attainment of mantra siddhi, control over the five elements, capacity to accomplish any desired end, complete mastery over the science of rhetoric and poetry and the spontaneous dawning of knowledge of all philosophies. About his life, his family and he gurus we learn from the introduction to his Tantraloka and Paratrimshika Vivarana .

Various research scholars have put his works into various categories- dealing with Tankra, aesthetics and philosophy. But as such it is exceptionally difficult to attempt a chronology of Abhinavagupt’s literary output. Well as a unique and radical thinker he shattered to pieces the conventional belief which laid heavy emphasis on caste and gender restrictions in relation to spiritual practice. He took to task those philosophical systems which held the prerequisite that spirituality required rigorous discipline, systems which made the pursuit for enlightenment the legitimate right of a chosen few. He abhorred the idea that spiritual revelation was only possible in a purely monastic surrounding, or that those caught in the householder way of life had to wait till the last portion of life before they could fully give themselves to spiritual pursuits. This idea was best expressed by Abhinavagupt in one of his concluding verses of Patanjali’s Paramarthasara:

O my devotees! On this path of supreme Bhairava, whoever has taken a step with pure desire, no matter if that desire is slow or intense; it does not matter if he is a Brahmin, if he is a sweeper, if he is an outcast, or if he is anybody; he becomes one with Para-bhairava.” (103)

In his Tantraloka (TL) Abhinavagupt refers to ‘Shriparvashastra’ to identify the signs by which a yogi endowed with Shaktipata can be recognized. Jagrathan, the commentator of TL says that Abhinavagupt has all those Sidhis. Madhuraja in his Gurunathaparamarsha testifying to his miraculous spiritual powers says that Abhinavagupt was recognized as the spiritual head of all the Shaiva sects – Siddhanta, Vam, Yamal, Bhairava, Kula, Trika and Ehavira, for his great power and brilliant exposition.

Since Kashmir Shaivism adopts a humanistic approach to life, its consequence to the present times may not be over-emphasized. Its universal character inspires one for both material and spiritual growth. Consequently, moving away from the obviously erroneous maya concept of Advaita Vedanta and Buddhist nihilism, it stresses positive acceptance of material world while pursuing the ultimate goal of ascending to Shiva consciousness. It does not advocate torture of the body or mind, nor does it plead for suppression or forced control but lays stress on sublimation and gradual turning away from the lure of wealth, power and sense pleasures.

Scholars believe that The Tantraloka, had been written after Abhinavagupt attained enlightenment. Furthermore, it is seen by scholars as one of the great accomplishments in Indian mysticism, it weaves together the documents from dozens of authoritative scriptures, into a massive 12 volume encyclopaedic work. While Tantrasara (TS) is a brief prose summary of Tantraloka, which is written in metrical form. Both are based on MaliniVijayatantra, (secret knowledge of the MaliniVijayatantra as originally addressed by Siva to Uma). MaliniVijayatantra, according to the introduction by Madhusadhan Kaul forms the basis of Abhinavagupt's Tantraloka. The text of the MaliniVijayatantra is difficult to be understood due to the various technicalities found in it. But the attempts of Abhinavagupt have left no point unexplained. Many scholars believe that the work belong to the Agama school. The Agamas are believed to be ancient revelations emphasizing the doctrine of liberation through Jnana (knowledge) and Kriya (action). The complete immersion of the duality in unity is the main lesson of the Tantras. The adorer becomes the adored himself. His body is the temple and his soul, the idol in it. He is the high priest not of a god above; around, or below but of his own ever-wakeful self.

It is surprising to understand just how little intellectual attention has been focussed on the study of the Tantras. Very few books on this subject are available for readers. Important scholars and book on Tantras include Bharati's The Tantric Tradition, Goudriaan, Gupta and Hoen’s  Hindu Tantrism , Goudriaan and Gupta's Hindu Tantric and Sakta Literature. In Obscure Religious Cults. S. B. Dasgupta introduces the reader to several tantric schools, including the Sahajiyas and the Natha Yogins, both of which are directly related to Abhinavagupt's Kaulism. Some scholars see the Tankra as originating in Buddhist groups, while others see its origin in Hindu environments. As such, we avoid this controversy, because in all probability it is impossible to solve this historical problem with any degree of certainty. In the Tantra we find rituals and initiations to be centre of religious life. Eventually, the Tantra was something into which one had to be initiated.  Paul Eduardo Muller-Ortega says that, its esoteric nature becomes even clearer in the Kaula Tantra. Not only was the tradition to be entered into by means of a ritual of initiation (diksa), but the religious practice or Sadhana enjoined on the tantric practitioner was itself highly ritualized. In Abhinavagupt's teachings, this ritual is to be progressively "interiorized." As the practitioner proceeds, he becomes less and less dependent on the external puja and penetrates deeper and deeper into the direct experience of consciousness. This penetration is often theoretically described as an ascent through the cakra-s of the mystical physiology and involves a progressive mastery of the pranic forces that sustain both the physical body and the mind.

Shaktipath from the guru is transmitted via four methods – signal, touch, intention and speech. In fact, the guru is always taken to be a Siva incarnate by reason of his condition of enlightenment. However, there are occurrences of a kind of spontaneous initiation by the ‘inner’ guru of the Heart who may appear to the Sadhaka in a vision or a dream and initiate him into the use of the appropriate mantra. Abhinavagupt makes reference to this process of spontaneous initiation in the TL, and describes a direct process of learning from the great Lord who resides in the Heart. In modern times also, we find examples where initiation is done by a Siddha who is no longer in this third dimension. Kathellen Milen as well as Avdhoot Shivanand Swami were initiated by Sai Baba etherically.

As such Paul Eduardo Muller-Ortega further says that the term tantra means simply "extension" or "warp on a loom”. Eventually it was used in literary environments to refer to any book or volume that explains certain doctrines, and finally the term was applied to the doctrines themselves. He further says that we must also guard against outright equations between the tantra and the Saktas, which have been judged by Payne to be "two intersecting but not coinciding circles." The image of intersection is a useful one for describing the nature of the non-dual Kashmir Shaiva tradition, which forms at the crossroads of Shaivism and Tantrism. Things get even more complicated in the case of Abhinavagupt, because he obviously fed at both Shaiva and Sakta sources. Because shakti plays a central role in the Kaula formulations.

Kashmiri Shaivism is classified by Abhinavagupt in four systems viz. Krama system, Spanda system, Kula system and Pratyabijnya system. Briefly speaking Krama deals with space and time, Spanda, with the movement, Kula with the Science of Totality and Pratyabijnya with the school of Recognition. (Ref G.T. Deshpande’s monogram on Abhinavagupt).

In Tantrāloka Abhinavagupt discusses and teaches the entire path of true devotion, recognition, and self-knowledge. Breathing practices, (pranayama), hatta yoga, elaborate explanations Kālacakra, Shakti-Shadana, and secret practices of visualization and meditation, complete instructions regarding initiations and ritual, the entire quantity of tantric mantras explanations of kundalini, nadis, cakras, energies of the Sanskrit alphabet etc. Accordingly, Tantraloka in microscopic detail discusses the development of human consciousness from the grosses state of ignorance to the subtlest state of universal God consciousness. In his first chapter Abhinavagupt states clearly that he was impelled by Lord Shiva, his masters, and his closest disciples, to compose Tantraloka. In verse 284 of that same chapter he states:

That person who has read, achieved and understood the depth
of these thirty-seven chapters becomes one with Bhairava-Lord Shiva.

In composing Tantraloka Abhinavagupt drew inspiration from the Malinivijaya tantra. In shedding light on the Malinivijaya, Abhinavagupt gives profound and detailed descriptions of both spiritual practice and theoretical philosophy. Thus, there is nothing to parallel these writings in existence today.

As per Abhinavagupt’s philosophy Moksha, in the tantric sense of the word, is the unfolding of powers brought about by the self-realization. To a real Tantric, birth and death are phenomena of God’s own creation. He finds gratification as much in the one as in the other (cf. Bhairavastotra of Abhinavagupt). He is the Bhairava whose name strikes terror into the destructive agencies and at who’s will the world lives and moves. His only object of faith is that death has significance only for those who are subject to mortality and not for those who have risen superior to its idea by their living belief in the deathlessness of the soul (cf. Tantraloka p. 192, vol. I)

A Tantric, like the one believing in the Vedas, gradually marches on the spiritual path, comes to feel his close empathy with nature. To him both the living and the non-living are glowing with divinity. The wonderfully glorious presence on divinity puts an end to all his animal tendencies and inspires him to fulfil his dignified mission. To him the world is not an illusion, not a Maya of the Vedantists, and therefore he tries to make himself and his surroundings happy to the best of his ability. Abhinavagupt believes that the individual soul is a smaller version of Shiva, the supreme soul. And the aim of an individual is to merge with the infinite soul.

In the in 4th ahnika of TL concept of japa is found. In certenity we can that the main theme with which the Tantras are concerned is the power of Mantras. Mantras have been a distinguished feature of Hindu tradition. In MantraSadhana we have reference of three types of mantras – Vedic mantras, Trantrok Mantras, and Beej mantras. Shakti Shadhana is based on Trantok Mantras. In tantric Shadhana the trantok mantras are a step ahead, here language becomes a tool of production as well as prediction. The Trantras thus construct a virtual connection between language and reality within the text of the mantra itself.

Mantras, as the Tantrists maintain, are certain scientifically arranged formulas which, if practised according to the Tantric precepts, bring about certain results conducive to the fulfilment of utterer's wishes. Mantras are a mysterious formula to awaken the Kundalini. But when the Kundalinni Shakti is awakened a guru is needed for handling it, guru becomes the adhara. Abhinavagupt points out that a shadhak should never do Shakti-Sadhana without receiving the blessing of a guru in form of Diksha. As per tantric tradition a Guru should be self-luminous, who merges with Shiva by attaining the cosmic state of Shivaconsciousness.

As per Tara Pradeepa in Bhihat Tantra Saar, in Kakiyug the Mantrakshara (letter of mantras) should be accepted as Devata and Devata should be accepted as Guru. Subsequently, we should not try to differentiate between the three (Mantra, Devata and Guru). The sole object of mantra is to attain liberation. But only Siddha-Mantras given by a guru can bring desired result. Success of mantras depends on dedication of the Sadhaka, the inner potency of the Siddha-Mantra and grace of the Guru. Each and every Mantra is a living energy in itself and should in no way be mistaken for a mere Varna or letter. Thus, repeated chanting of a Mantra (japa), if practiced in complete purity of spirit, leads the Sadhak to fusion with Him (Shiva). Abhinavagupt says that Japa is an intense and repeated synthetic awareness of the essential nature of Shiva, of the self which is supreme word. Japa is associated with the vibration of prana. He also discusses the divine model of japa taking it to a higher dimension- identity with God.

Abhinavagpt also mentions Beej Mantras. From puranic times mantras have been locked – use of coded language. They have to be unlocked by a Guru, as an ordinary mortal neither has the knowledge nor the ability to unlock it. In present day, few Siddha have the knowledge and power to unlock the mantras, Beej mantras work only after the power of these verse are awakened. These beej (seed) is the most distinctive feature of a tantric mantra. Beej Mantra means a mantra which is usually of one syllable. Basic beej mantra is Om and it is further extended into the following types of beej - yog beej, tejo beej, shanti beej and raksha beej, which are respectively known as aim, hreem, sreem, kreem, kleem, dum, gam, glaum, lam, yam, ram etc. Without Guru’s grace it is impossible to receive, handle and experience the infinite energy of these Beej mantras. In Agam-Nigam it is mentioned that a mantra can only become Sidha with Bhootleepi. For example, in Siddha Kunjika Stortam we have -
अं कं चं टं तं पं यं शं वीं दुं ऐं वीं हं क्षं
धिजाग्रम् धिजाग्रं धिजाग्रम् धिजाग्रंत्रोटय त्रोटय दीप्तं कुरु कुरु स्वाहा ॥ १

Here awaking of varga is a major factor.eg A varga (A, Aaa----) Ka Varga ( ka, kha..) to awaken a mantra it also mentions 27 jap secrets, which inculd dhohan, aakarshan, amrutikaran etc.

ॐ ऐं ह्रीं क्लीं चामुण्डायै विच्चे ।
ॐ ग्लौं हुं क्लीं जूं सः ज्वालय ज्वालय ज्वल ज्वल प्रज्वल प्रज्वल ऐं ह्रीं क्लीं चामुण्डायै विच्चे ज्वल हं सं लं क्षं फट् स्वाहा ॥ ५॥
In the above manta -
ग्लौं is used for cleaning debris
क्लीं is used for attraction
जूं सः is used for purification or Amrutikaan s

Paul Eduardo Muller-Ortega says that, the symbol of the Heart plays a central role in the tantric writings of Abhinavagupt. He says that Abhinavagupt's religious vision is intimately bound up with the symbol of the Heart on three important levels. The first is the reality of the Heart as Siva, which refers to the intimacy and transcendence of Siva in the Heart. The key term here is anuttara-tattva, that is, the principle of the Ultimate. The second level involves Abhinavagupt's teachings about the methods and techniques that must be employed in order to approach the Ultimate reality of the Heart and transform it into a living human reality. The most direct and effortless method of realization is known as the Sambhavopaya.The third level intimates the nature of the state of realization of the Heart. This process of realization is termed hrdayangamibhuta, which literally means "becomes something that moves in the Heart, "and can be more simply translated as "experiential replication."The state of realization is often called Bhairavata - the condition of Bhairava.

I agree with Paul Eduardo Muller-Ortega that even today, after so many years of research by a handful of excellent scholars both in India and in the West, Abhinavagupt’s importance is only beginning to be recognized. A figure who is perhaps second in importance and influence only to the great Sankaracarya is barely mentioned in the standard surveys of Indian thought. We have something to learn from the planet’s most ancient tradition about how to nurture the capacities that will help us develop a peaceful, healthy, and happy society, a society in which learning is engaged in for sheer and utter pleasure, and for the genuine welfare of humanity.

Accordingly, Abhinavagupt teaches us two important things - to become fully human and to become fully divine. He does not believe in two separate absolute consciousnesses. Purush and Prakriti are not separate, but two ends of one individual spectrum. Abhinavagupt is not only philosopher, a Maharishi, but through his encyclopaedic contribution and multidimensional personality he transforms himself into a living Mantra (re-reading, re-reading), Trantra (a system for transformation) and a Yantra (an instrument that gives energy) for peaceful and blissful future of Bharatvarsh and humanity at large.


Reference from -
1.     Cultural Heritage of Kashmiri Pandits By Kulbhushan Warikoo
2.     The Philosophy of Sadhana: With Special Reference to the Trika Philosophy of Sadhana with special reference to trika philosophy of kasmir By Debabrata Sen Sharma
3.     From Early Vedanta to Kashmir Shaivism: Gaudapada, Bhartrhari, and Abhinavagupt By N. V. Isaeva
4.     Abhinavagupt - the Philosopher by Prof. K. N. Dhar
5.     The Triadic Heart of Siva , Kaula Tantricism of Abhinavagupt in the Non-Dual Shaivism of Kashmir by Paul Eduardo Muller-Ortega.

Published in - 
AYUDH – international referred journal ISSN: 2321-2160       
UGC Approved no. 47772
33rd Issue February Volume – 1 & 2, 2018  Page – 22 to 27.