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Dear murugappan,

Shakthi worshipping and its philosophy:

The Shakta is so called because he is a worshipper of Shakti (Power), that is, God in Mother-form as the Supreme Power which creates, sustains and withdraws the universe. His rule of life is Shaktadharma, his doctrine of Shakti is Shaktivada or Shakta Darshana. God is worshipped as the Great Mother because, in this aspect, God is active, and produces, nourishes, and maintains all. Theological Godhead is no more female than male or neuter. God is Mother to the Sadhaka who worships Her Lotus Feet, the dust on which are millions of universes. The Power, or active aspect of the immanent God, is thus called Shakti. In Her static transcendent aspect the Mother or Shakti or Shivé is of the same nature as Shiva or "the Good". That is, philosophically speaking, Shiva is the unchanging Consciousness, and Shakti is its changing Power appearing as mind and matter. Shiva-Shakti is therefore Consciousness and Its Power. This then is the doctrine of dual aspects of the one Brahman acting through Its Trinity of Powers (Iccha, Will; Jñana, Knowledge; Kriya, Action). In the static transcendent aspect (Shiva) the one Brahman does not change and in the kinetic immanent aspect (Shivé or Shakti) It does. There is thus changelessness in change. The individual or embodied Spirit (Jivatma) is one with the transcendent spirit (Paramatma). The former is a part (Amsha) of the latter, and the enveloping mind and body are manifestations of Supreme Power. Shakta Darshana is therefore a form of Monism (Advaitavada). In creation an effect is produced without change in the Producer. In creation the Power (Shakti) "goes forth" (Prasharati) in a series of emanations or transformations, which are called, in the Shaiva and Shakta Tantras, the 36 Tattvas. These mark the various stages through which Shiva, the Supreme Consciousness, as Shakti, presents Itself as object to Itself as subject, the latter at first experiencing the former as part of the Self, and then through the operations of Maya Shakti as different from the Self. This is the final stage in which every Self (Purusha) is mutually exclusive of every other. Maya, which achieves this, is one of the Powers of the Mother or Devi. The Will-to-become-many (Bahu syam prajayeya) is the creative impulse which not only creates but reproduces an eternal order. The Lord remembers the diversities latent in His own Maya Shakti due to the previous Karmas of Jivas and allows them to unfold themselves by His volition. It is that Power by which infinite formless Consciousness veils Itself to Itself and negates and limits Itself in order that it may experience Itself as Form.

This Maya Shakti assumes the form of Prakriti Tattva, which is composed of three Gunas or Factors called Sattva, Rajas, Tamas. The function of Prakriti is to veil, limit, or finitize pure infinite formless Consciousness, so as to produce form, for without such limitation there cannot be the appearance of form. These Gunas work by mutual suppression. The function of Tamas is to veil Consciousness, of Sattva to reveal it, and of Rajas the active principle to make either Tamas suppress Sattva or Sattva suppress Tamas. These Gunas are present in all particular existence, as in the general cause or Prakriti Shakti. Evolution means the increased operation of Sattva Guna. Thus the mineral world is more subject to Tamas than the rest. There is less Tamas and more Sattva in the vegetable world. In the animal world Sattva is increased, and still more so in man, who may rise through the cultivation of the Sattva Guna to Pure Consciousness (Moksha) Itself. To use Western parlance, Consciousness more and more appears as forms evolve and rise to man. Consciousness does not in itself change, but its mental and material envelopes do, thus releasing and giving Consciousness more play. As Pure Consciousness is Spirit, the release of It from the bonds of matter means that Forms which issue from the Power of Spirit (Shakti) become more and more Sattvik. A truly Sattvik man is therefore a spiritual man. The aim of Sadhana is therefore the cultivation of the Sattva Guna. Nature (Prakriti) is thus the Veil of Spirit as Tamas Guna, the Revealer of Spirit as Sattva Guna, and the Activity (Rajas Guna) which makes either work. Thus the upward or revealing movement from the predominance of Tamas to that of Sattva represents the spiritual progress of the embodied Spirit or Jivatma.

It is the desire for the life of form which produces the universe. This desire exists in the collective Vasanas, held like all else, in inchoate state in the Mother-Power, which passing from its own (Svarupa) formless state gives effect to them. Upon the expiration of the vast length of time which constitutes a day of Brahma the whole universe is withdrawn into the great Causal Womb (Yoni) which produced it. The limited selves are withdrawn into it, and again, when the creative throes are felt, are put forth from it, each appearing in that form and state which its previous Karma had made for it. Those who do good Karma but with desire and self-regard (Sakama) go, on death, to Heaven and thereafter reap their reward in good future birth on earth -- for Heaven is also a transitory state. The bad are punished by evil births on earth and suffering in the Hells which are also transitory. Those, however, who have rid themselves of all self-regarding desire and work selflessly (Nishkama Karma) realize the Brahman nature which is Saccidananda. Such are liberated, that is never appear again in the World of Form, which is the world of suffering, and enter into the infinite ocean of Bliss Itself. This is Moksha or Mukti or Liberation. As it is freedom from the universe of form, it can only be attained through detachment from the world and desirelessness. For those who desire the world of form cannot be freed of it. Life, therefore, is a field in which man, who has gradually ascended through lower forms of mineral, vegetable and animal life, is given the opportunity of heaven-life and Liberation. The universe has a moral purpose, namely the affording to all existence of a field wherein it may reap the fruit of its actions. The forms of life are therefore the stairs (Sopana) on which man mounts to the state of infinite, eternal, and formless Bliss. This then is the origin and the end of man. He has made for himself his own past and present condition and will make his future one. His essential nature is free. If wise, he adopts the means (Sadhana) which lead to lasting happiness, for that of the world is not to be had by all, and even when attained is perishable and mixed with suffering. This Sadhana consists of various means and disciplines employed to produce purity of mind (Cittashuddhi), and devotion to, and worship of, the Magna Mater of all. It is with these means that the religious Tantra Shastras are mainly concerned. The Shakta Tantra Shastra contains a most elaborate and wonderful ritual, partly its own, partly of Vaidik origin. To a ritualist it is of absorbing interest.

Ritual is an art, the art of religion. Art is the outward material expression of ideas intellectually held and emotionally felt. Ritual art is concerned with the expression of those ideas and feelings which are specifically called religious. It is a mode by which religious truth is presented, and made intelligible in material forms and symbols to the mind. It appeals to all natures passionately sensible of that Beauty in which, to some, God most manifests Himself. But it is more than this. For it is the means by which the mind is transformed and purified. In particular according to Indian principles it is the instrument whereby the consciousness of the worshipper (Sadhaka) is shaped in actual fact into forms of experience which embody the truths which Scripture teaches. The Shakta is thus taught that he is one with Shiva and His Power or Shakti. This is not a matter of mere argument. It is a matter for experience. It is ritual and Yoga-practice which secure that experience for him. How profound Indian ritual is, will be admitted by those who have understood the general principles of all ritual and symbolism, and have studied it in its Indian form, with a knowledge of the principles of which it is an expression. Those who speak of "mummery," "gibberish" and "superstition" betray both their incapacity and ignorance.

The Agamas are not themselves treatises on Philosophy, though they impliedly contain a particular theory of life. They are what is called Sadhana Shastras, that is, practical Scriptures prescribing the means by which happiness, the quest of all mankind, may be attained. And as lasting happiness is God, they teach how man by worship and by practice of the disciplines prescribed, may attain a divine experience. From incidental statements and the practices described the philosophy is extracted.

The speaker of the Tantras and the revealer of the Shakta Tantra is Shiva Himself or Shivé the Devi Herself. Now it is the first who teaches and the second who listens (Agama). Now again the latter assumes the role of Guru and answers the questions of Shiva (Nigama). For the two are one. Sometimes there are other interlocutors. Thus one of the Tantras is called Ishvarakartikeya-samvada, for there the Lord addresses his son Kartikeya. The Tantra Shastra therefore claims to be a Revelation, and of the same essential truths as those contained in the Eternal Veda which is an authority to itself (Svatah-siddha). Those who have had experience of the truths recorded in Shastra, have also proclaimed the practical means whereby their experience was gained. "Adopt those means" they say, "and you will also have for yourself our experience." This is the importance of Sadhana and all Sadhana Shastras. The Guru says: "Do as I tell you. Follow the method prescribed by Scripture. Curb your desires. Attain a pure disposition, and thus only will you obtain that certainty, that experience which will render any questionings unnecessary." The practical importance of the Agama lies in its assumption of these principles and in the methods which it enjoins for the attainment of that state in which the truth is realized. The following Chapters shortly explain some of the main features of both the philosophy and practice of the Shakta division of the Agama. For their full development many volumes are necessary. What is here said is a mere sketch in a popular form of a vast subject.

  The Tantras have, often, not been kindly spoken of. It has been said that they have hitherto played, in Indology, the part of a jungle which everybody is anxious to avoid. Still stronger, a great historian is quoted as having said that it would be "the unfortunate lot of some future scholar to wade through the disgusting details of drunkenness and debauchery which were regarded as an essential part of their religion by a large section of the Indian community not long ago" And Grünwedel, speaking especially of the Tibetan Tantras (Mythology, p. 106), from the immense literature of which as yet nothing had been translated, says: "To work out these things will be, indeed, a sacrficium intellectus, but they are, after all, no more stupid than the Brahmanas on which so much labor has been spent." But here we have the first translation into a European language of one of these Tantrik texts; and far from being obscene or stupid, it strikes us as a work of singular beauty and nobility, and as a creation of religious art, almost unique in its lofty grandeur. It is so totally unlike any religious document we are acquainted with, that it is almost inconceivable that this is only a brief specimen, a first specimen, made accessible to the general public, of a vast literature of which the extent (as existing in Tibet) cannot yet even be measured. Yet, in saying that the nature of our book is unique, we do not mean to imply that close analogies cannot be found for it in the religious literatures and practices of the world. Such an aloofness would be rather suspicious, for real religious experience is, of course, universal, and, proceeding from the same elements in the human heart, and aspiring to the same ends, must always show kinship in manifestation. Yet this Tibetan product has a distinctive style of its own, which singles it out in appearance as clearly, let us say, as the specific character of Assyrian or Egyptian art is different from that of other styles.

When we now proceed to examine the document before us, at the outset a verdict of one of the critics of Tantrism comes to our mind, to the effect that the Tantra is perhaps the most elaborate system of auto-suggestion in the world. This dictum was intended as a condemnation; but though accepting the verdict as correct, we ourselves are not inclined to accept, together with it, the implied conclusion. Auto-suggestion is the establishment of mental states and moods from within, instead of as a result of impressions received from without. Evidently there must be two kinds of this auto-suggestion, a true and a false one. The true one is that which produces states of consciousness corresponding to those which may be produced by realities in the outer world, and the false one is that which produces states of consciousness not corresponding to reactions to any reality without. In the ordinary way the consciousness of man is shaped in response to impressions from without, and so ultimately rests on sensation, but theoretically there is nothing impossible in the theory that these "modifications of the thinking principle" should be brought about by the creative will and rest rather on imagination and intuition than on sensation. This theory has not only been philosophically and scientifically discussed, but also practically applied in many a school of mysticism or Yoga. If I remember well, there is a most interesting book by a German (non-mystic) Professor, Staudenmeyer, dealing with this subject, under the title of Magic as an Experimental Science (in German), and the same idea seems also to underlie Steiner's theory of what he calls "imaginative clairvoyance". In Christian mysticism this has been fully worked out by de Loyola in his "Spiritual Exercises" as applied to the Passion of the Christ. In what is now-a-days called New Thought, this principle is largely applied in various manners. In our book we find it applied in terms of Tantrik Buddhism with a fullness and detail surpassing all other examples of this type of meditation. In order to present the idea in such a way that it may look plausible in itself, we have first to sketch out the rationale underlying any such system. This is easily done.

We can conceive of this universe as an immense ocean of consciousness or intelligence in which the separate organisms, human beings included, live and move and have their being. If we conceive of this mass of consciousness as subject to laws, analogous to those of gravity, and at the same time as being fluidic in nature, then the mechanism of all intellectual activity might well be thought of, in one of its aspects, as hydraulic in character. Let any organism, fit to be a bearer of consciousness, only open itself for the reception of it, and the hydraulic pressure of the surrounding sea of consciousness will make it flow in, in such a form as the construction of the organism assumes. The wave and the sea, the pot and the water, are frequent symbols in the East, used to indicate the relation between the all-consciousness and the individual consciousness. If the human brain is the pot sunk in the ocean of divine consciousness, the form of that pot will determine the form which the all-consciousness will assume within that brain.

Now imagination, or auto-suggestion, may determine that form. Through guess, intuition, speculation, tradition, authority, or whatever the determinant factor may be, any such form may be chosen. The man may create any form, and then, by expectancy, stillness, passivity, love, aspiration or whatever term we choose, draw the cosmic consciousness within him, only determining its form for himself, but impersonally receiving the power which is not from himself, but from without. The process is like the preparation of a mold in which molten metal is to be cast, with this difference, that the metal cast into the mold is not self-active and alive, and not ever-present and pressing on every side, as the living consciousness is which constitutes our universe.

We may take an illustration from the mechanical universe. This universe is one seething mass of forces in constant interplay. The forces are there and at work all the time, but only become objectified when caught in suitable receivers. The wind-force, if not caught by the arms of the windmill, the forces of stream or waterfall, if not similarly gathered in a proper mechanism, disperse themselves in space and are not focused in and translated into objective units of action. So with the vibrations sent along the wire, in telegraphic or telephonic communication, or with the other vibrations sent wirelessly. In a universe peopled with intelligences, higher beings, gods, a whole hierarchy of entities, from the highest power and perfection to such as belong to our own limited class, constant streams of intelligence and consciousness must continuously flash through space and fill existence. Now it seems, theoretically indeed, very probable, assuming that consciousness is one and akin in essence, that the mechanical phenomenon of sympathetic vibration may be applied to that consciousness as well as to what are regarded as merely mechanical vibrations. So, putting all the above reasonings together, it is at least a plausible theory that man, by a process of auto-suggestion, may so modify the organs of his consciousness, and likewise attune his individual consciousness in such a way, as to become able to enter into a sympathetic relation with the forces of cosmic consciousness ordinarily manifesting outside him and remaining unperceived, passing him as it were, instead of being caught and harnessed. And this is not only a theory, but more than that -- a definite statement given as the result of experience by mystics and meditators of all times and climes.

Now we may ask: how has this method been applied in our present work? A careful analysis of its contents makes us discover several interesting characteristics. First of all we have to remember that our text presupposes a familiarity with the religious conceptions, names, personalities and philosphical principles of Northern Buddhism, which are all freely used in the composition. What is strange and foreign in them to the Western reader is so only because he moves in unfamiliar surroundings. But the character of the composition is one which might be compared to such analogous Western productions (with great differences, however) as the Passion Play at Oberammergau or the mediaeval mystery-plays. Only, in some of the latter the historical element predominates, whilst in the Tibetan composition the mythological element (for want of a better word) forms the basis and substance. In other words, in this ritual of meditation the Gods, Powers and Principles are the actors, and not, historical or symbolical personages of religious tradition. Secondly the play is enacted in the mind, inwardly, instead of on the scene, outwardly. The actors are not persons, but conceptions.

First, the meditator has to swing up his consciousness to a certain pitch of intensity, steadiness, quiet, determination and expectancy. Having tuned it to the required pitch, he fixes it on a simple center of attention which is to serve as a starting-point or gate through which his imagination shall well up as the water of a fountain comes forth through the opening of the water-pipe. From this central point the mental pictures come forth. They are placed round the central conception. From simple to complex in orderly progression the imaginative structure is elaborated. The chief Gods appear successively, followed by the minor deities. Spaces, regions, directions are carefully determined. Attributes, colors, symbols, sounds are all minutely prescribed and deftly worked in, and explications carefully given. A miniature world is evolved, seething with elemental forces working in the universe as cosmic forces and in man as forces of body and spirit. Most of the quantities on this elaborate notation are taken from the body of indigenous religious teaching and mythology. Some are so universal and transparent that the non-Tibetan reader can appreciate them even without a knowledge of the religious technical terms of Tibet. But anyhow, an attentive reading and re-reading reveals something, even to the outsider, of the force of this symbological structure, and makes him intuitively feel that here we are assisting in the unfolding of a grand spiritual drama, sweeping up the mind to heights of exaltation and nobility.

affectionately
gandhiram .