THE TARA-TANTRA:LYRIC MEDITATION ON THE FORMS OF TARA YOGINI-2.TXT *********************************************************************** NOTE: Tara's name means "Star." She is the shakti of Avalokiteswara, the embodiment of compassion, transcender of illusion, He who created the mantra Aum Mani Padme Hum. Tara is also compassion, and represents the element of air and the direction of the north. A sort of mini-Kali, she is always depicted to the uninitiated in her fearful form: she has four arms, each entwined with venomous serpents, her hair is matted and serpents coil within its ragged strands. She holds a severed head, much like MahaKali, and a chalice from which she drinks the blood. To the initiated, similarly to the symbolism of Kali's horrific aspect, the severed head represents separation from the bonds which hold one back in spiritual progress, the blood is the energy of the world, which Tara consumes and thus regenerates. The First Image Of Tara: Standing firmly with her left foot forward, resting on a corpse, She laughs loudly. Transcendent and horrible, her hands hold a sword, a blue lotus, a dagger and a begging bowl. She raises her war cry: HUN! HUN! HUN! Her matted tawny hair is bound with venomous blue serpents. Thus the terrifying Tara destroys the three worlds and carries them on her head to the other store. NOTE: The seed-syllable HUN is a mantra or part of a mantra used to assist in awakening the Kundalini. The Second Image of Tara: She shines upon a white lotus arisen from the water, pervading the world. The serpents are her ornaments, in the form of a crown, earrings, garlands, armlets, bracelets, anklets. She has three wide-open eyes, tawny tresses, a beautiful form, fearful teeth. Round are her delightful hips; she wears upon them the skin of a panther. Tara, Mother of the three worlds, seated upon the heart of a corpse, Her face resplendent with the power of the Never-decaying. NOTE: To the initiated, Tara, while fearsome in ways, is beautiful. The venom from serpents, while deadly, can also be used to heal a variety of ailments, when used correctly. She is seated upon the heart of a corpse: symbolic of Tara within the heart, giving the power of the "Never-decaying." In Tantric symbolism, the male as corpse indicates his form, without the creative power of Shakti, he is as powerless as a corpse. Tara is a Sanskrit goddess, incorporated by Buddhists as one of the Five Dakinis, consort of the Bodhisattva. She is much like Kali; the initiated who know Kali also know Tara. THE SUPREME FEMALE DEITY NOTE: Devi means, simply 'Goddess,' or Divine Female Principle. In this poetic passage, the author apparently refers to Parvati, Lord Siva's consort, a manifestation of the Uma aspect; the beautiful and merciful manifestation of Kali. He invokes Devi in order to receive a vision of her; any having this vision shall become one with her. The sight of Devi seated in the lotus brings supreme joy to those who achieve it; however those are few, initiated, and blessed. In the midst of the Ocean of Nectar, where covered with groves of heavenly wishing trees is he Isle of Gems, in the mansion of wishing jewels with its grove of nipa trees, on a couch composed of Siva, Thy seat a mattress which is Supreme Siva. Some few lucky ones worship Thee, a flood of consciousness and bliss. The earth in the muladhara, the water in the manipura, the fire in the svadhisthana, the air in the heart, the mind between the brows, and the ether above. In short, having pierced the entire kula path, in the thousand-petalled lotus Thou sportest in secret with Thy Lord. With streams of nectar flowing from between Thy feet and sprinkling the universe, recreating through the power of reciting the sacred texts that produce the six circles, again Thou reach Thine own abode and into the form of a serpent of 3-1/2 coils Thee convert Thyself and sleep in the kulakunda hollow. By reason of the four and five triangles, which are pierced by the bindu and constitute the nine basic triangles, 43 43 43. Along with the lotuses of 8 and 16 petals outside the triangles and the three circles outside the lotuses and the three lines outside the circles Angles of Thy dwelling place are evolved. To equal Thy beauty, O Daughter of the Snowy Mountains, master poets may scarce succeed The heavenly courtesans, when they have glimpsed it, through their longing to enjoy it pass in imagination to identify with the Mountain-Dweller Siva, who is difficult to attain through ascetic practices... In earth 56; 52 in water; in fire 62; 54 in air; in the mind 64; and 72 in ether-- These are the rays Above them in the thousand-petalled lotus is the pair of Thy Lotus Feet. Slender as a streak of lightning, composed of the essence of sun, moon, and fire, situated above the six lotuses, the manifestation of Thee in the forest of great lotuses, those with mind free of stain and illusion who view it, Mighty Ones, experience the flood of Supreme Joy. Do Thee, O Lady, extend to me, thy Slave, a compassionate glance! When one desiring to praise Thee utters the words 'Thee, O Lady' at that moment Thou grant him a state of identity with Thee, with Thee, Thy feet illuminated by the crests of Brahma, Visnu and Siva. NOTE: The second stanza above refers to the six chakras of both physical and subtle body; metaphorically conceived as Devi's body. The thousand-petalled lotus, or crown chakra, sits at the crown of Devi's head--and the crown of the universe. In it, the feminine and masculine principles co-exist as either the neuter, or the Siva/Sakthi united in holy sexual union. The third stanza above, describes how Devi, having used her awakened kundalini energy to pierce the chakras (or circles of the universe) and unite with Siva, she returns by descending the same Chakra Path, returns to the "Kulakunda," or Kunda's resting place, the hollow below the six chakras, and takes the traditional form of Kundalini, the serpent with 3-1/2 coils. Kundalini is both goddess and pure sexual energy, and her awakening and upward travel lead to physical fulfillment and spiritual enlightenment in Tantric tradition. The fourth stanza above, describes both the chakras, with their various petals, some of which are subdivided into additional petals, and her Yantra. Devi's Yantra is also called her mansion. The Yantra consists of triangles with a 'drop' in the middle-- bindu, the male seed; also a focal point for meditation on the Yantra. The triangles represent victory over the Four Worldly Elements and the Five Senses. The lotuses outside her Yantra or mansion refer to the eight-petalled lotus of the heart chakra and 16-petalled lotus of the throat chakra; indicating ethereal love and free-flowing communication. The three circles outside the lotuses represent the three worlds of which Devi is Mistress (phenomenal, spiritual, and eternal). The three 'lines' outside the circles likely refer to The Tantric Union of Three, a sexual act that is also considered a Yantra. In this High Sexual Union, a couple invites a second female to participate. Thus, the kundalini power of both women, activated, increase the level of sexual/spiritual energy and all are liberated more quickly. It is also a Tantric gift, expression of unselfishness, and form of Sexual Initiation. The sixth stanza, above, assigns elements to the Chakras. The Lotus Feet are a traditional Hindi symbol--worshipping at the Lotus Feet of God or Guru. Foot-washing, kissing, and prostrating oneself at the feet of God/Guru are common Hindu practices. The aspirant states symbolically that he worships Devi as the supreme, and prostrates himself before her "feet" which rest atop the universe, or reside eternally within the crown chakra of enlightenment. The above is an excellent example of the literal, symbolic and spiritual used at once. Some amusing translations of the above Devi invocation completely miss the point, adding copious notes about how this is a simple love poem with mystical images thrown in for no reason. HAMSA. SOHAM. ----------------------------------------------------------------------- POEM TO URVASI BY R. TAGORE, HINDU POET. Tagore (1861-1941) is a modern Hindu, who studied extensively the western mystical teachings and sexual magick practices. He is said to have been one of Karl Kellner's Tantric Initiators. The poem below is fairly self-explanatory. Urvasi is similar to Aphrodite: the Puranas tell of how the nectar of immortality was cast into the ocean and lost. When the ocean was churned to recover the nectar, Urvasi rose from the foam. A beautiful nymph, she personifies the Dancing Yogini symbol and degree of Tantra. Thou art not mother, art not daughter, art not bride, Thou beautiful comely One, O Dweller in Paradise, Urvasi! When Evening descends on the pastures, drawing about her tired body her golden cloth, Thou lightest the lamp within no home. With hesitant wavering steps, with throbbing breasts and downcast look, Thou dost not go smiling to any Beloved's bed, In the hushed midnight. Thou art unveiled like Ushas, the rising Dawn, Eternal One! Like some stemless flower, blooming in Thyself, When didst Thou blossom, Urvasi? That primal spring, Thou didst arise from the churning of ocean, Nectar in Thy right hand, venom in Thy left. The swelling mighty sea, like a serpent tamed with spells, Drooping his thousand towering hoods, fell at Thy Feet! White as the kunda-blossom (*kunda = pool: the lotus*) A naked beauty, adored by the Kind of the Gods, Thou flawless One! Wast Thou never bud, never virgin of tender years, O eternally youthful Urvasi? Sitting alone, under whose dark roof didst Thou know childhood's play, toying with gems and pearls? At whose side, in what chamber lit with the flashing of gems, lulled by the sea-waves' chant, didst Thou sleep on coral bed, a smile on Thy pure face? That moment when Thou awakened into the Universe, Thou wast framed of youth, in full-blown Beauty! From age to age Thou hast been the world's beloved, O unsurpassed in loveliness, Urvasi! Breaking their meditation, sages lay at Thy feet the fruits of their penance; Smitten with Thy glance, the three worlds grow restless with youth; The blinded winds blow Thine intoxicating fragrance; Like the black bee, honey-drunken, the infatuated poet wanders with greedy heart, lifting chants of wild jubilation! While Thou goest, with jingling anklets and waving skirts, restless as lightning! In the assembly of the Gods, when Thou dancest in ecstasy of joy, O swaying wave, Urvasi! The companies of billows in mid-ocean swell and dance, beat on beat; In the crests of the corn the skirts of earth tremble; From Thy necklace stars fall from the sky; Suddenly in the breast of man the heart forgets itself, The Blood Dances! Suddenly in the horizon, Thy zone bursts-- Ah, wild in abandon! On the Sunrise Mount in heaven, Thou art Ushas, the embodied Dawn, O world-enchanting Urvasi! Thy slender form is washed with the streaming tears of the universe; The ruddy hue of Thy feet is painted with the hearts' blood of the three worlds; Thy tresses escaped from the braid, Thou hast placed thy light feet, Thy Lotus Feet, on the Lotus of the blossomed desires of the universe! Endless are Thy masks in the mind's heaven, O Lover of my dreams! Hear what crying and weeping everywhere rise for Thee, O cruel, deaf Urvasi! Say, will that ancient prime ever revisit this earth-- from the shoreless unfathomed deep wilt Thou rise again, with wet locks? First in the first Dawn that Form will show! In the startled gaze of the universe all Thy limbs will be weeping, Waters flowing from them Suddenly the vast sea, in songs never before sung, Will thunder with its waves! She will not return, she will not return! That Moon of Glory has set! She hat made her home on Holy Mount Meru, has Urvasi! Therefore on earth today with the joyous breath of spring mingles the long-drawn sighs of some eternal separation. On the night of the full moon, when the world brims with laughter, Memories, from somewhere far away, pipe a flute that brings unrest, the tears gush out! Yet in that weeping of the spirit hope wakes and lives, Ah, Unfettered One! NOTE: Devadasis, *servants of Shakti or goddess,* were ancient temple dancers, conveying erotic information, telling stories through movement, and serving as Tantric Initiatresses on a non-verbal level. The highest Devadasi rank was the Dancing Yogini, personified by Urvasi in the above lyric poem. During the original British occupation, the Devadasis were slaughtered and imprisoned, the temples burned; as the British considered them not only common prostitutes, but practitioners of *black magic*. Due to the British puritanical actions, many of the ancient forms and wisdom of the Yoginis were lost. In modern Tantric practice, a form of dance known as Orissi is probably closest to the ancient forms of temple dance. Dancing Yoginis were considered mistresses of the gods, and were granted Initiatress status in all forms of Tantric initiation. Many Dancing Yoginis became high priestesses and were considered to be enlightened. THOUGH I OPEN MYSELF COMPLETELY, NONE BUT THE ETHER POSSESS ME. HARI AUM TAT SAT. ---------------------------------------------------------------------- Various texts as cited, commentary by D. Yogini Padma Ushas Suryananda. (c) 1993 Rose Dawn Scott. The above text is part of a Tantric file collection available through Modem Magick, (619) 447-5010. The author/compiler is also availabe via modem at the above number.