The lecturer commenced by pointing out that an examination of any doctrine of creation reveals two fundamental concepts: Those of Being
(Kutastha) and Becoming (Bhava); Changelessness and Change; the one and Many. The Brahmân or Spirit in its own nature (Svarupa) is and never becomes. It is the evolutes derived from the Principle of Becoming (Mûlâ Prakriti) which constitute what is called Nature. The latter principle is essentially Movement. The world is displayed by consciousness (chit) in association with Mûlâ Prakriti in cosmic vibration (spandana). Recent Western hypotheses have made scientific “matter” into Mâyâ in the sense that it is but the varied appearances produced in our mind by vibration of and in the single substance ether. The doctrine of vibration (Spandana) is however in India an ancient inheritance. The whole world is born from the varied forms of the initial movement in Mûlâ Prakriti. The problem is how does such multiplicity exist without derogation to the essential unit of its efficient cause, the spirit? The lecturer then made a rapid survey of the Sânkhya philosophy on this point which assumes two real and independent principles of Being and Becoming which it calls Purusa and Prakriti and passed from this the easiest dualistic answer to the pure monism of S’ankara which asserted that there was but one Principle of Being, the Sadvastu and Mâyâ, whether considered as a S’akti of Îs’vara or as the product of such S’akti was Avastu or nothing. He then pointed out that the Tântrik doctrine with which he dealt occupied a middle position between those two points of view. S’iva in the Kulârnava Tantra says “Some desire Monism” (Advaitavâda), others Dualism (Dvaitavâda). Such, however, know not My Truth which is neither Monism nor Dualism (Dvaitâdvaitâ Vivarjita). Tantra is not Dvaitavâda for it does not recognise Prakriti as an independent unconscious principle (Achit). It differs from S’ankara’s Advaitavâda in holding that Prakriti as a conscious principle of Becoming, that is as S’akti, is not Avastu, though its displayed picture, the world is Mâyâ. It effects a synthesis of the S’ânkhya dualism by the conversion of the twin principles of Purusa and Prakriti into the unity which is the Ardhanârîs’vara S’iva S’akti.
As regards other matters it adopts the notions of the Sânkhya such as the concepts of Mûlâ Prakriti with the three Gunas, vibration (spandana), evolution (Parinâma) of the Vikritis and the order of emanation of the Tattvas. S’akti which effects this exists and is Herself never unconscious (Achit) though It has the power to make the Jîva think It is such. If this were understood one would not hear such nonsense as that the S’âktas (whose religion is one of the oldest in the world) worship material force or gross matter (Jada).
The lecturer then shortly explained the nature of S’akti (S’akti Tattva), a term which derived from the root “S’ak” meant the Divine Power whereby the world was created, manifested and destroyed. In Tantra the power and the Lord who wields it (S’aktimân) are one and the same, S’iva and S’akti are one and the same, S’iva is Brahmân, S’akti is Brahmân. The first is the transcendent, the second the immanent aspect of the one Brahmân, Who is both S’iva and S’akti. The Mother creates (Kârya-Vibhâvinî). The Father wills what She does (Kârya-Vibhâvaka). From their union creation comes. S’akti is not like the diminutive female figure which is seen on the lap of some Indian images, to which is assigned the subordinate position which some persons consider a Hindu wife should occupy. She is not a handmaid of the Lord but the Lord Himself in Her aspect as Mother of the worlds. This S’akti is both Nirguna and Saguna that is Chit S’akti and Mâyâ S’akti.
After this defining the nature of S’akti by which the world was created, the lecturer commenced an account of its manifestation as the universe, following in the main the S’âradâ Tilaka written in the eleventh century by Laksmanâchârya,
The lecturer having explained the nature of these S’aktis which formed part of the sound (S’abda), Sadrisa Parinâma, referred to the form or meaning (Artha) creation in the same development by the appearance of the six S’ivas from S’ambu to Brahmâ which were aggregate (Samasti) sound powers. It was he said, on the differentiation of the Parâvindu that there existed the completed causal S’abda which is the Hidden Word. The causal body or Parâ S’abda and Artha being complete, there then appeared the displayed word or S’abdârtha. This is a composite like the Greek Logos. The S’abda Brahmân or Brahmân as cause of S’abda is the Chaitanya in all beings. The S’abdârtha in the Vedantin Nâmarûpa or world of name and form of this S’abdârtha the subtle and gross bodies are constituted, the S’aktis of which are the Hiranyagarbha sound, called Madhyamâ and the Virât sound Vaikhârî. By S’abda is not meant merely physical sound which as a quality of atomic ether is evolved from Tâmasik Ahamkâra.
The lecturer then pointed out that there had been Adrista Sristi up to the appearance of S’akti and Vivartta development up to the completion of the “word” or causal sound. Then there takes place real evolution (Parinâma) in which the Tattvas (or elements discovered as a result of psychological analysis of our worldly experience) are said to emanate according to the Sânkhya and not the Vedantic scheme, though there were some peculiarities in the Tantrik exposition which the lecturer noted. Finally Yogika Sristi was accepted in so far as it was the elements which in varied combinations made up the gross world.
In conclusion the lecturer pointed out that Indian S’âstra was a mutually connected whole. Such peculiarities as existed in any particular S’âstra were due to a variety of standpoints or purpose in view. The main point in this connection to be remembered was that the Tantra was practical S’âdhanâ S’âstra. Whilst S’ankara dealt with the subject from the standpoint of Jñânakânda, the Tantra treated it from the point of view of worship (Upâsanâkânda) the Tantrik doctrine is compounded of various elements some of which it shared with other S’âstras, some of which are its own, the whole being set forth according to a method and terminology which is peculiar to itself.]
48-70. She is the Lady of the Râsa Lîlâ, the Foremost of the Jovial, humourous (witty) persons and dwells always in Râsa. Her abode is in Goloka and from Her have come out all the Gopîkâs. Râsa – the circular dance of Krisna and the cow-herdesses of Vrindâvana. Her nature is the Highest Bliss, the Highest Contentment, and Excessive Joy; She transcends the three Sattva, Rajo and Tamo Gunas and is Nirâkâra (without any particular form); but She dwells everywhere but unconnected with any. She is the soul of all. She is without any effort to do anything and void of Ahamkâra. She assumes forms only to show Her favour to Her Bhaktas. The intelligent learned men (Pundits) read Her Mahimâ (glories) in meditating on Her according to the Vedas. The chief of the Devas and the Munis could never see Her; Her clothings are fire-proof and She is decorated with many ornaments all over Her body. Her body looks as if the crores of moons have risen all at once; She is the Giver of Bhakti (devotion) towards Krisna, services towards Krisna; and She bestows all wealth and prosperity. In Varâha Kalpa, i.e., when the Varâha incarnation took place, She incarnated Herself as the daughter of one Gopa (cow-herd), named Vrisabhânu. And Earth was blessed by the touch of Her feet. She is such as Brahmâ and the other Devas could never perceive Her by any of their senses, yet everyone at Vrindâvan saw Her very easily. She is the Gem amongst women. And when She is seen on the breast of Krisna, it seems that lightnings flash in the blue mass of clouds in the sky. In days gone by, Brahmâ practised several austerities for sixty thousand years to purify Himself by seeing the nails of Her toe; but far from seeing that, He could not have that even in his dreams. At last He succeeded in seeing Her at Vrindâvana and became blessed. O Child Nârada! This is the fifth Prakriti and She is denominated as Râdhâ. Every female in every Universe is sprung from a part of S’rî Râdhâ or part of a part. O Nârada! Thus I have described to you the five Highest Prakritis, Durgâ and others. Now I am going to describe those that are parts of these Prakritis. Hear. The Ganges, Gangâ has sprung from the lotus feet of Visnu; Her form is fluid-like; She is eternal. And She is the veritable burning fire to burn away the sins of the sinners. She is sweet to touch in taking baths and in drinking; She gives final liberation to the Jîvas, and leads easily to the Goloka abode. She is the holiest amongst the places of pilgrimage and is the first of the running rivers. She is the rows of pearls in the clotted hairs of Mahâdeva’s head and She is the Tapasyâ (asceticism) incarnate of the Tapasvîs (ascetics) of the Bhârata Varsa. This Ganges purifies the three worlds and is the part of Mûlâ Prakriti; She shines like the Full Moon, is white like white lotus and like milk; She is pure S’uddha Sattva, clear, free from any Ahamkâra, chaste and beloved of Nârâyana. The Tulasî Devî is the consort of Visnu. She is the ornament of Nârâyana, and dwells always at the lotus feet of Nârâyana. By Her are performed all the acts of worship, all austerities, and all Sankalpas (resolves). She is the chief of all the flowers, holy and able to give merits (Punyam) to others. At Her sight and touch, Nirvâna can be obtained; and, were it not for Her, there could be no other fire in this Kali Yuga to burn the sins. She Herself is of the nature of Fire and at the touch of Whose lotus-feet, the earth is purified; all the Tîrthas desire to have Her sight and touch for purification and without Her all acts in this world become fruitless. She bestows Moksa (liberation) to those who want final liberation, grants all sorts of desires to several people, Who Herself is like a Kalpa Vriksa, Who is the Presiding Deity of all the trees in Bhârata and Who has come here to grant satisfaction to the ladies of Bhârata Varsa and She is considered very superior throughout all parts of India. This Tulasî Devî is the chief factor of Mûlâ Prakriti.
