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    Hymn to Kali: Karpūrādi-Stotra
    Hymn to Kali: Karpūrādi-Stotra
    Hymn to Kali: Karpūrādi-Stotra
    Ebook118 pages1 hour

    Hymn to Kali: Karpūrādi-Stotra

    By John Woodroffe

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    In "Hymn to Kali: Karpūrādi-Stotra," John Woodroffe offers a profound exploration of the complexities surrounding the goddess Kali, drawing from rich Sanskrit tradition. The text is not merely a translation but an eloquent rendition that encapsulates the devotional fervor and intricate philosophical underpinnings of the original stotra. Woodroffe's poetic style melds seamlessly with scholarly rigor, setting the hymn within a broader cultural and religious context, addressing themes of femininity, destruction, and transcendence that resonate deeply within Hindu thought. The work captures the essence of a goddess worshipped as a fierce protector and a nurturing mother, thereby illuminating the paradoxes intrinsic to her character. John Woodroffe, an eminent scholar and practitioner of Tantric philosophy, immerses himself in the rich tapestry of Indian spirituality. His background in law and deep engagement with Hindu scriptures allow him to approach the subject with both analytical precision and heartfelt reverence. The author’s lived experiences in India and interactions with practitioners provide invaluable insights into the fervent devotion toward Kali, enriching the text with authentic experiential wisdom. This book is highly recommended for scholars of religion, practitioners of Hinduism, and anyone interested in the intricate relationship between the divine feminine and human experience. Woodroffe's erudition combined with the text's lyrical beauty serves as both a scholarly resource and a devotional guide, making it indispensable for a deep understanding of Kali and her significance in contemporary spiritual practice.
    LanguageEnglish
    PublisherSharp Ink
    Release dateOct 30, 2023
    ISBN9788028323127
    Hymn to Kali: Karpūrādi-Stotra

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      Hymn to Kali - John Woodroffe

      PREFACE

      Table of Contents

      THIS celebrated Kaula Stotra, which is now translated from the Sanskrit for the first time, is attributed to Mahākāla Himself. The Text used is that of the edition published at Calcutta in 1899 by the Sanskrit Press Depository, with a commentary in Sanskrit by the late Mahāmahopādhyāya Kṛṣhṇanātha Nyāya-pañcānana, who was both very learned in Tantra-Śāstra and faithful to his Dharma. He thus refused the offer of a good Government Post made to him personally by a former Lieutenant-Governor on the ground that he would not accept money for imparting knowledge.

      Some variants in reading are supplied by this commentator. I am indebted to him for the Notes, or substance of the notes, marked K. B. To these I have added others, both in English and Sanskrit explaining matters and allusions familiar doubtless to those for whom the original was designed, but not so to the English or even ordinary Indian reader. I have also referred to the edition of the Stotra published by Gaṇeśa-Candra-Ghoṣa at Calcutta in 1891, with a translation in Bengali by Gurunātha Vidyānidhi, and commentary by Durgārāma-Siddhāntavāgīśa Bhattācārya. I publish for the first time Vimalānanda-Svāmī's Commentary to which I again refer later. When in this Introduction or in the Commentary I have not mentioned these two works my authorities are the Tantras or Tāntrik works which I cite, or. the information I have gathered from those whom I have consulted.

      One of the chief features of this Stotra is that it gives the mantroddhāra of the Dakshina-Kālikā. It not only gives us the Dhyāna, Yantra, Sādhana and Svarūpa-varnanā of the Mahādevī, but it also contains the chief Mantras of Dakṣiṇakālikā. The adjective "Tava manu-samuddharaṇajanu qualifying idam stotram" in Śloka 21 expressly states this fact.

      Among the various Mantras of Dakṣiṇā Kālikā the greatest is the "Vidyā-rājñī" consisting of 22 syllables (Dvāviṁsākṣarī). This mantra gives the fullest and the truest symbol of the Svarūpa of Her. This mantra is contained in the first five Ślokas.

      So the first five Ślokas give us altogether 22 akṣaras i.e. the full Vidyārājñī.

      In Vimalānanda-Svāmī's Tīkā of the 5th Śloka in the revised Sanskrit text he has proved by quotations from the 9th patala of Śāktānanda-tarangiṇī that this 22-syllabled mantra is the full and true representation of the Svarūpa of the Mahādevī. See the quotation which begins with

      "Krīm-kāro mastakaṃ devi Krīm-kāraśca lalātakaṁ"

      and ends with

      "Svā-śabdena pada-dvandvam hā-kāreṇa nakhaṁ tathā"

      The words "Svarūpaṁ (5th sl.) and Sakalaṁ" (6th sl.) point to this Vidyārājñī. After the full Vidyā-rājñī has been given in the first five Ślokas, the 6th Śloka gives the various other Mantras of less importance and significance—ranging from one syllabled to nine-syllabled, 15-syllabled, 21-syllabled and so forth.

      This Mantroddhāra has been made following the authority of Kālikā-śruti, Niruttara-Tantra and other Tantras. Many commentators, however, have apparently in the view of Vimalānanda failed to consult the above authorities, and have thus fallen into errors and have given a different Mantroddhāra. Some take the 1st Śloka to give a one-syllabled mantra, the 2nd sloka as also the 3rd, two two-syllabled mantras, the 5th a nine-syllabled one and so on: a view which it is contended is opposite to such passages as "atha hainaṁ brahmarandhre brahma-svarūpinīm āpnoti . . . . . . . . . . bṛhad-bhānu-jāyāṁ uccaret in the 1st Sūkta of Kālikopaniṣad; or passages in Niruttara-Tantra (Ch. II) beginning with Atha vaksye Kuleśāni Dakṣinā-kalikā-manuṁ and ending with Sarva-mantra-mayī vidyā sṛṣti-sthityanta-kāriṇī. The Svāmī further refers me to the end of the Kālikopaniṣad where dealing with the various Mantras of the Dakṣiṇa-Kālikā it is said Atha sarvām vidyām prathamaṁ ekaṁ dvayaṁ vā trayaṁ vā nāmatrayaputitaṁ vā kṛtvā japet. The great Tāntrik Pūrṇānanda Giri explaining the passage says Sarvām vidyām-iti pūrvoktadvāvimśatyakṣaryāh prathama bījaṁ vā bīja-dvayaṁ vā etc. (vide Śyāmā-rahasyaṁ, Rasikamohan's edition, p. 36.)

      From the above consideration, it is clear that at the very beginning in the first 5 Ślokas the 22-syllabled Mantra is given and then the others. It may be added here that the fact of Mahākāla's composing the Hymn in 22 Ślokas not more nor less—is also an indication of the correctness of the Svāmī's view, who, in further support of it cites 5 Ślokas dealing with the Mantroddhāra from the Krama-stava of the Dakṣiṇa-Kālikā under the first 5 Ślokas of the Karpūrādi, which will be found in the printed text.

      In course of revising his Vyākhyā Vimalānanda-Svāmī has in the first six Ślokas given good grounds to prove that the Stotra not only contains the Mantroddhāra and the Sādhana of Śrī-Śrī-Dakṣina-Kālikā but also in it are given the Mantras and Rahasyapūjā of Śri-Śri-Tārā and Śrī-Śrī-Tripura-sundarī.

      In addition to the Mantroddhāra the following matters are contained in the Stotra.

      Ślokas 10, 15-18, 20 refer to the Tāntrik vīrācārasādhana. Vīrācāra is for the class of sādhaka who are vīrabhāva and abhiṣikta. To those who follow paśvācāra this ritual is strictly forbidden. The nature of the rahasyapūjā is indicated in the text, to which I have added an explanatory commentary in English and Sanskrit.

      To the Paśu, sādhana by night is prohibited, for it connotes in Śākta-sādhana, worship with the Pañcatattva. The Paśu is still bound by the pāśa (bonds) of desire, etc., and he is, therefore, not adhikārī, for that which, if undertaken by the unfit, will only make these bonds stronger. For him, on the contrary, there are severe restrictions in this matter, for, as the Śāktakrama cited by the commentator says, "Maithunaṁ tatkathālāpaṁ tadgoṣṭhīṁ parivarjayet."

      (The Paśu should avoid maithuna, conversation on the subject, and the like.) The Paśu should avoid the eight forms of maithuna known as aṣtāṅga maithuna—viz., smaraṇaṁ (thinking upon it), kīrtanam (talking of it), kelih (play with women), prekṣaṇam (looking upon women), guhyabhāṣaṇaṁ (talk in private with women), saṁkalpah (wish or resolve for maithuna), adhyavasāyah (determination towards it), as well as kriyāniṣpattih (actual accomplishment). The Nityā Tantra, which the commentator cites, says: "Rātrau naiva yajed deviṁ sandhyāyāṁ vā’parāhnake—He (the Paśu should never worship the Devī during the latter part of the day or in the evening or at night." To this, from amongst many other authorities, I may add the Svatantra, which says that the Paśubhāva Sādhaka should do one lakh of japa in day time and that a Vīra devoted to his own Ācāra should do one lakh of japa at night;

      Paśubhāvarato mantrī divā lakṣa japaṁ caret.

      Svācāranirato viro rātrau lakṣa japaṁ caret.

      In connection with this verse I must observe that in the notes to verse 20 it is said that the first half of the 20th Śloka is meant for "Paśusādhakas and that the 2nd half refers to the pūrṇābhiṣiktavīrasādhaka, as also that the word paraṁ" (afterwards) means and refers to the time when the ‘Paśu’ having received abhiṣeka enters vīrācāra and is adhikārī for the midnight puraścaraṇa. Vimalānanda tells me that this is wrong and that the whole Śloka has reference to the vīra or divya-sādhaka and

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