19. Varna Utpatthi Nirupanam

एकोनविंशोऽध्यायः

वर्णोत्पत्तिनिरूपणं

ekonaviṁśo'dhyāyaḥ

varṇotpattinirūpaṇaṁ

Chapter 19

Varna Utpatthi Nirupanam

श्रीः-

सिसृक्षालक्षणा पूर्वा पूर्णाहंता हरेरहम्।

सृष्टिरूपा परा शाक्तिरूपेत्येवोदितास्म्यहम्॥ १॥

śrīḥ-

sisṛkṣālakṣaṇā pūrvā pūrṇāhaṁtā hareraham |

sṛṣṭirūpā parā śāktirūpetyevoditāsmyaham || 1 ||

Shri: I am the ancient, Sri Hari's complete Ahantha, having the quality of creative urge. Since I am the supreme sakti of creation, I become active in that form

दश पञ्च च तुल्या मे दशास्त्रिदशनन्दन।

अनुत्तरं स्वसंवेद्यं चिद्रूपं मम शाश्वतम्॥ २॥

daśa pañca ca tulyā me daśāstridaśanandana |

anuttaraṁ svasaṁvedyaṁ cidrūpaṁ mama śāśvatam || 2 ||

O who gives happiness to devas, I have fifteen equal dasas. The absolute(without second), self revealed, consciousness form and eternal of my..

वाक्तत्त्वं तदकारात्मा सर्ववाङ्मयसंभवः।

तदेवानन्दरूपेण द्वितीयः स्वर इष्यते॥ ३॥

vāktattvaṁ tadakārātmā sarvavāṅmayasaṁbhavaḥ |

tadevānandarūpeṇa dvitīyaḥ svara iṣyate || 3 ||

Speech tatvam is akaram (a) from which is the origin of all that is related to speech. When the same in the Ananda form is the second svara(A)

इच्छात्मना तृतीयः स्यादीशानात्मा तुरीयकः।

उन्मेषः पञ्चमः षष्ठ ऊर्जतारूप उच्यते॥ ४॥

icchātmanā tṛtīyaḥ syādīśānātmā turīyakaḥ |

unmeṣaḥ pañcamaḥ ṣaṣṭha ūrjatārūpa ucyate || 4 ||

The third is iccha(i); and the fourth is Isana(I); unmesha(u) is the fifth and the sixth is Urja(U)

चतुष्कं मध्यमं यत्तदिच्छादेरेव विक्रिया।

अनुत्तरेच्छासंयोगादेकारो नाम जायते॥ ५॥

The four middle are the modification of iccha and others.ऋ ॠ ऌ ॡ

catuṣkaṁ madhyamaṁ yattadicchādereva vikriyā |

anuttarecchāsaṁyogādekāro nāma jāyate || 5 ||

The four middle are the modification of iccha and others.ṛ ṝ ḷ ḹ

The first combining with iccha becomes ekara (e)

तस्यैवानन्दसंयोगाज्जगद्योनिरुदाहृता।

अनुत्तरोन्मेषयोगादोकारो नाम जायते॥ ६॥

tasyaivānandasaṁyogājjagadyonirudāhṛtā |

anuttaronmeṣayogādokāro nāma jāyate || 6 ||

The same (iccha) with anandha(A) is named jagatyoni(ai). The first combining with unmesha creates okara(o)

तस्यैवानुत्तरश्लेषात् सद्योजातसमुद्भवः।

अनुत्तराद्भवन्त्येते विकासा वेद्यसंश्रयाः॥ ७॥

tasyaivānuttaraśleṣāt sadyojātasamudbhavaḥ |

anuttarādbhavantyete vikāsā vedyasaṁśrayāḥ || 7 ||

When this is combined with the first letter creates sathyojatham(au). Thus all these manifestation of  (Sounds) relating to objects to be known come from the first (a)

तादृक्तादृक्समुन्मेषा आनन्दाद्यास्त्रयोदश।

त्रयोदशतयोन्मेषाः श्रिता वेदनशेषिताम्॥ ८॥

tādṛktādṛksamunmeṣā ānandādyāstrayodaśa |

trayodaśatayonmeṣāḥ śritā vedanaśeṣitām || 8 ||

The thirteen ;Ananda and others; are special manifestations of the first sound.When these thirteen manifestations reach a stage of nothing but knowledge..

अनुत्तरीं सूक्ष्मदशां स तु पञ्चदशः स्वरः।

एताः पञ्चदशावस्था विसृष्टेः स्फुरणोद्यमा॥ ९॥

anuttarīṁ sūkṣmadaśāṁ sa tu pañcadaśaḥ svaraḥ |

etāḥ pañcadaśāvasthā visṛṣṭeḥ sphuraṇodyamā || 9 ||

the final subtle dasa - the fifteenth sound emerges(anusvara). These fifteen states are the   creative efforts in creation business

दशभिः पञ्चभिश्चैवमङ्गैः पूर्णा सिसृक्षया।

दैवी सृष्टिमयी शक्तिः कृत्ये कृत्ये कृतोद्यमा॥ १०॥

daśabhiḥ pañcabhiścaivamaṅgaiḥ pūrṇā sisṛkṣayā |

daivī sṛṣṭimayī śaktiḥ kṛtye kṛtye kṛtodyamā || 10 ||

With the urge to create with the fifteen angas made available, the absolute devi with creative sakthi becomes active in business of specific creations

विसृजत्यास्तु तस्या मे तत्त्वानां पञ्चविंशतिम्।

पुरुषाद्याः पृथिव्यन्ताः कादिमान्ताः समुद्गताः॥ ११॥

visṛjatyāstu tasyā me tattvānāṁ pañcaviṁśatim |

puruṣādyāḥ pṛthivyantāḥ kādimāntāḥ samudgatāḥ || 11 ||

From me , engaged in creation, emerged the twenty five tatvam starting with Purusha and ending with Prithvi and starting from ka and ending with ma..

तत्तदक्षरसंस्फूर्तेस्तत्तत्तत्त्वं समुद्गतम्।

चतुष्कं धारणारूपं यादिवान्तमुदीर्यते॥ १२॥

tattadakṣarasaṁsphūrteīstattattattvaṁ samudgatam |

catuṣkaṁ dhāraṇārūpaṁ yādivāntamudīryate || 12 ||

Each tatvam emerges from that tatva's corresponding sound or syllable. The set of four sounds viz.,From Ya ending with Va are named dharana

धारयन्ति यतो मध्ये पुरुषं धारणाः स्मृताः।

कला किंचित्क्रियारूपा यकारो वातसंज्ञितः॥ १३॥

dhārayanti yato madhye puruṣaṁ dhāraṇāḥ smṛtāḥ |

kalā kiṁcitkriyārūpā yakāro vātasaṁjñitaḥ || 13 ||

Since they carry the purusha in themselves they are called dharanas.The yakara consisting of a very small part of the creative form is called vata

किंचिज्ज्ञानात्मिका विद्या रेफः पावकसंज्ञितः।

स्तम्भमोहात्मिका माया लकारः पृथिवी मतः॥ १४॥

kiṁcijjñānātmikā vidyā rephaḥ pāvakasaṁjñitaḥ |

stambhamohātmikā māyā lakāraḥ pṛthivī mataḥ || 14 ||

Since repha is made of vidya which is small part of (my) knowledge is called Pavaka. Lakara is maya comprising of obstruction and delusion is regarded as prithvi

रञ्जनात्मा रागशक्तिर्वकारो वरुणात्मकः।

परापरदशामध्ये धारयन्त्यो नरं सदा॥ १५॥

rañjanātmā rāgaśaktirvakāro varuṇātmakaḥ |

parāparadaśāmadhye dhārayantyo naraṁ sadā || 15 ||

Vakara is delightful Varuna and is raga sakti. These constantly support man in between para and apara states ..

चतस्रो धारणा ज्ञेयास्ता एतास्तत्त्वकोविदैः।

शादिक्षान्तं तु विज्ञेयं विशुद्धं ब्रह्मपञ्चकम्॥ १६॥

catasro dhāraṇā jñeyāstā etāstattvakovidaiḥ |

śādikṣāntaṁ tu vijñeyaṁ viśuddhaṁ brahmapañcakam || 16 ||

is how these four dharanas should be viewed by people well versed in sastras. Starting from sha ending with ksha is to be known as the five pure brahmans

शषसहोऽनिरुद्धाद्या विज्ञेयास्त्रिदशेश्वर।

सृजन्त्याः क्षुभितं रूपं सृष्ट्यादौ यन्ममाद्भुतम्॥ १७॥

śaṣasaho'niruddhādyā vijñeyāstridaśeśvara |

sṛjantyāḥ kṣubhitaṁ rūpaṁ sṛṣṭyādau yanmamādbhutam || 17 ||

O god of gods, sha Sa sa and ha should be viewed as Aniruddha and others. The wonderful form that I assume when the urge to create rises at the commencement of creation..

क्षोभिका सा महाशक्तिः क्षात्मा सत्यापराह्वया।

पृथिव्याद्या वियत्प्रान्ता या दिव्याः पञ्च शक्तयः॥ १८॥

kṣobhikā sā mahāśaktiḥ kṣātmā satyāparāhvayā |

pṛthivyādyā viyatprāntā yā divyāḥ pañca śaktayaḥ || 18 ||

.. is the great sakthi which is the soul of ksha called (differently as) sathya. The five divine sakthis starting with Prithivi and ending with viyat..

बलादिपञ्चकात्मानो दिव्या मत्सत्त्वनामिकाः।

ज्ञानात्मानो ममोद्यत्यास्ता एताः शादिशक्तयः॥ १९॥

balādipañcakātmāno divyā matsattvanāmikāḥ |

jñānātmāno mamodyatyāstā etāḥ śādiśaktayaḥ || 19 ||

..represent my five divine attributes  such as Bala and others. These five sakthis which rises from me full of knowledge are represented by sha and others

विसर्गो नाम यः प्रोक्तः पुरा पञ्चदशाङ्गवान्।

साहं  सोममयी शक्तिः किरणायुतसंकुला॥ २०॥

visargo nāma yaḥ proktaḥ purā pañcadaśāṅgavān |

sāhaṁ  somamayī śaktiḥ kiraṇāyutasaṁkulā || 20 ||

Visarga what has been told earlier as made of fifteen angas is myself when I am filled with soma and brilliant thousands of rays

संकोचश्च विकासश्च तावेव परिकीर्तितौ।

अङ्गानामन्तिमो यस्तु प्रोक्तः पञ्चदशो मया॥ २१॥

saṁkocaśca vikāsaśca tāveva parikīrtitau |

aṅgānāmantimo yastu proktaḥ pañcadaśo mayā || 21 ||

Bindhu and visarga represent my Contracting and expanding state of existance. The last of the angas which I said as fifteenth..

आदानशीलं तं विद्धि सूर्यं भोक्तारमञ्जसा।

सूर्याचन्द्रमसावेतौ बिन्दुसर्गौ पुरंदर॥ २२॥

ādānaśīlaṁ taṁ viddhi sūryaṁ bhoktāramañjasā |

sūryācandramasāvetau bindusargau puraṁdara || 22 ||

is Surya which has the character of receiving who instantly feeds. O purandara, these two bindhu and visarga represents sun and moon

किरणाः सप्त सप्त स्युर्देवयोरनयोर्द्वयोः।

चतुर्दश स्वराः शिष्टाः सप्त युग्मानि कल्पयेत्॥ २३॥

kiraṇāḥ sapta sapta syurdevayoranayordvayoḥ |

caturdaśa svarāḥ śiṣṭāḥ sapta yugmāni kalpayet || 23 ||

These two objects (Sun and moon)  possess seven rays each. The balance fourteen syllables are considered as seven pairs

तेषु सप्तसु युग्मेषु पूर्वे सप्त पुरंदर।

शोषकाः सूर्यरूपाया भोक्त्राख्याया ममांशवः॥ २४॥

teṣu saptasu yugmeṣu pūrve sapta puraṁdara |

śoṣakāḥ sūryarūpāyā bhoktrākhyāyā mamāṁśavaḥ || 24 ||

O purandhara, the first seven sound of the seven pairs are my sun form where I am called the bhoktr (enjoyer) and my rays are absorbers

उत्तरे सप्त युग्मेषु शीतलाह्लादकारिणः।

पोषकाः सोमरूपाया भोग्याख्याया ममांशवः॥ २५॥

uttare sapta yugmeṣu śītalāhlādakāriṇaḥ |

poṣakāḥ somarūpāyā bhogyākhyāyā mamāṁśavaḥ || 25 ||

The last seven sounds of the seven pairs are cool and pleasent are my moon form where I am called Bhogya (object of enjoyment) and my rays are nourishers

आलोकस्तीक्ष्णता व्याप्तिर्ग्रहणं क्षेपणेरणे।

पाक इत्युदिताः पूर्वे किरणाः सूर्यसंभवाः॥ २६॥

ālokastīkṣṇatā vyāptirgrahaṇaṁ kṣepaṇeraṇe |

pāka ityuditāḥ pūrve kiraṇāḥ sūryasaṁbhavāḥ || 26 ||

Aloka, thiksnata, vyapti, grahana, ksepana, irana, paka are the property of the first seven rays originating from the sun

द्रवता शीतभावश्च शान्तिः कान्तिः प्रसन्नता।

रसतानन्द इत्येते सप्त चान्द्रमसाः कराः॥ २७॥

dravatā śītabhāvaśca śāntiḥ kāntiḥ prasannatā |

rasatānanda ityete sapta cāndramasāḥ karāḥ || 27 ||

Dravata, sithabhava, shanthi,kanti, prasannata, rasata and ananda are the properties of the seven rays belonging to the moon

अग्नीषोमात्मकैरेभिः किरणैः कान्तिशालिनी।

पुमांसं बिन्दुरूपं तमङ्गीकृत्य विशेषणी॥ २८॥

agnīṣomātmakairebhiḥ kiraṇaiḥ kāntiśālinī |

pumāṁsaṁ bindurūpaṁ tamaṅgīkṛtya viśeṣaṇī || 28 ||

The rays consisting of agni and soma (i.e sun and moon) which are radiant and taking a body in the form of  bindu which is distinctive and agreeable

सोमरूपोत्तरा शक्तिकोटिमण्डलमण्डिता।

महासृष्टिर्महानन्दा प्रवर्तेऽन्त्यस्वरात्मना॥ २९॥

somarūpottarā śaktikoṭimaṇḍalamaṇḍitā |

mahāsṛṣṭirmahānandā pravarte'ntyasvarātmanā || 29 ||

..following the form of soma and adorned with multitude crores of sakthis, the great creative sakthi Mahananda manifests as the last svaram

तस्याः प्रवर्तमानाया उद्गतं ब्रह्मपञ्चकम्।

क्षादि शान्तं सुरेशान शक्त्युन्मेषविशेषितम्॥ ३०॥

tasyāḥ pravartamānāyā udgataṁ brahmapañcakam |

kṣādi śāntaṁ sureśāna śaktyunmeṣaviśeṣitam || 30 ||

O lord of devas, this five brahmans starting with ksa and ending with sha originating from her is active and has a defined sakthi manifestation

क्ष इत्येव महाक्षोभ उदितः सत्यसंज्ञया।

वासुदेवाख्यया होऽभूत् साख्यः संकर्षणोदयः॥ ३१॥

kṣa ityeva mahākṣobha uditaḥ satyasaṁjñayā |

vāsudevākhyayā ho'bhūt sākhyaḥ saṁkarṣaṇodayaḥ || 31 ||

Ksha represents the great violent shaking / agitation  before creation and is known as Satya.Vasudeva is represented by ha and sa is that of Samkarshana

प्रद्युम्नः षाख्यया ज्ञेयो ह्यनिरुद्धस्तु शाख्यया।

ता एताः शक्तयः पञ्च पञ्चब्रह्मात्मिकाः पराः॥ ३२॥

pradyumnaḥ ṣākhyayā jñeyo hyaniruddhastu śākhyayā |

tā etāḥ śaktayaḥ pañca pañcabrahmātmikāḥ parāḥ || 32 ||

Pratyumna is represented by SHA and aniruddha by sha. These five sublime saktis inherent in the five fold brahman..

स्फूर्तयो मदभिन्नास्ता जगदुत्पत्तिहेतवः।

ज्वाला इव महावह्नेर्ब्रह्मणो मम शक्तयः॥ ३३॥

sphūrtayo madabhinnāstā jagadutpattihetavaḥ |

jvālā iva mahāvahnerbrahmaṇo mama śaktayaḥ || 33 ||

.. are the causes of creation of the appearance. Like the power to burn (Existing inherently) in a great fire, I stand as the power to create in the Brahman

चतस्रो धारणा जाता वाद्या यान्ताः पुरंदर।

तुर्याद्या जाग्रदन्तास्ता अवस्थाः परिकीर्तिताः॥ ३४॥

catasro dhāraṇā jātā vādyā yāntāḥ puraṁdara |

turyādyā jāgradantāstā avasthāḥ parikīrtiītāḥ || 34 ||

O purandhara, the four dharanass starting from Va and ending in Ya represents the avastas starting with turiya and ending with jagrat

पुमांसं धारयन्त्येता मध्यतो दशयोर्द्वयोः।

यैषा ब्रह्मदशा प्रोक्ता प्राकृती भादिका च या॥ ३५॥

pumāṁsaṁ dhārayantyetā madhyato daśayordvayoḥ |

yaiṣā brahmadaśā proktā prākṛtī bhādikā ca yā || 35 ||

Between the two dasas they are held in the person. Brahma dasa and prakrithi dasa starting with bha states have..

मध्ये तयोर्मकाराख्यो धारणानां चतुष्कतः।

ध्रियते स पुमान् प्रोक्तो जाग्रदादिविभेदवान्॥ ३६॥

madhye tayormakārākhyo dhāraṇānāṁ catuṣkataḥ |

dhriyate sa pumān prokto jāgradādivibhedavān || 36 ||

..between them a state called Ma. The man is said to have Jagrat etc states of existance due to the four dharanas

यदि न ध्रियते ताभिर्दशामन्यतरां व्रजेत्।

ब्राह्मीं वा प्राकृतीं वापि नैव स्यात् संसृतिस्ततः॥ ३७॥

yadi na dhriyate tābhirdaśāmanyatarāṁ vrajet |

brāhmīṁ vā prākṛtīṁ vāpi naiva syāt saṁsṛtistataḥ || 37 ||

If he werent existing (in between the states) then his position will be that of Brahma or Prakriti otherwise samsriti

इत्यर्थं धारणा मत्तः प्रादुर्भूता ममाज्ञया।

ततो दशाचतुष्कस्थः पुरुषो भोक्तृसंज्ञकः॥ ३८॥

ityarthaṁ dhāraṇā mattaḥ prādurbhūtā mamājñayā |

tato daśācatuṣkasthaḥ puruṣo bhoktṛsaṁjñakaḥ || 38 ||

Due to my orders, the dharanas are thus arise out of me. Hence the man of the fourfold existance states is known as Bhoktru

मत्तो जज्ञे म इत्येवं योग्यो भोगापवर्गयोः।

भोगानां प्रसवार्थाय पुरुषस्यास्य वासव॥ ३९॥

matto jajñe ma ityevaṁ yogyo bhogāpavargayoḥ |

bhogānāṁ prasavārthāya puruṣasyāsya vāsava || 39 ||

O Vasava, Ma , arising from me, is capable of enjoying the bhogas as well as liberation, for creating objects of enjoyment for the person

अचैतन्यं परं सूक्ष्मं गुणसाम्यमनुल्बणम्।

योनिस्वभावसंज्ञातं मत्तोऽभूद्भ इति स्वयम्॥ ४०॥

acaitanyaṁ paraṁ sūkṣmaṁ guṇasāmyamanulbaṇam |

yonisvabhāvasaṁjñātaṁ matto'bhūdbha iti svayam || 40 ||

Matter(insentinent / that which does not have consciousness), supreme, subtle, with equal and not excessive gunas known to have the quality of womb, on its own emerged from me as Bha

भोग्यभोगादिसिद्ध्यर्थं भुञ्जानस्य विपश्चितः।

बाद्यात् ककारपर्यन्ताद्वर्णग्रामात् पुरंदर॥ ४१॥

bhogyabhogādisiddhyarthaṁ bhuñjānasya vipaścitaḥ |

bādyāt kakāraparyantādvarṇagrāmāt puraṁdara || 41 ||

For having objects of enjoyment as well types of enjoyments for the enjoyer, O purandhara, from the group starting with Bha and upto Ka

व्यक्तानि जज्ञिरे मत्तो विंशतिस्त्रीणि च क्रमात्।

बुद्ध्यहंकारमनसां सृष्टिर्वादित्रयात्तथा॥ ४२॥

vyaktāni jajñire matto viṁśatistrīṇi ca kramāt |

buddhyahaṁkāramanasāṁ sṛṣṭirvāditrayāttathā || 42 ||

 evolved in order from me twenty three objects .Buddhi, Ahamkara and Manas are created from the three

श्रोत्रादेर्नादितान्तेषु पञ्चकस्य समुद्भवः।

वागादेर्णादिटान्तेषु पञ्चकस्य समुद्भवः॥ ४३॥

The five hearing and other sensory organs are represented by sounds starting from na and ending with ta. The five  speech and others are represented by the sounds Na and ending with Taण - ट

शब्दाद्याः पञ्चतन्मात्रा ञादिचान्तेषु जज्ञिरे।

वियदादीनि भूतानि ङादिकान्तेपु जज्ञिरे॥ ४४॥

The five Sound and others, pancha tanmatra come from ङ to च. The five elements space and others come from ञ to  क

बोधः शब्दात्मनोदेति शब्दस्त्त्वर्थात्मना ततः।

विद्धि बोधं तु मद्रूपं सर्वेयं मत्ततिस्ततः॥ ४५॥

śrotrādernāditānteṣu pañcakasya samudbhavaḥ |

vāgāderṇādiṭānteṣu pañcakasya samudbhavaḥ || 43 ||

The five hearing and other sensory organs are represented by sounds starting from na and ending with ta. The five  speech and others are represented by the sounds Na and ending with Taṇa - ṭa

śabdādyāḥ pañcatanmātrā ñādicānteṣu jajñire |

viyadādīni bhūtāni ṅādikāntepu jajñire || 44 ||

The five Sound and others, pancha tanmatra come from ṅa to ca. The five elements space and others come from ña to  ka

bodhaḥ śabdātmanodeti śabdasttvarthātmanā tataḥ |

viddhi bodhaṁ tu madrūpaṁ sarveyaṁ mattatistataḥ || 45 ||

The knowledge is expressed by the sound and the sound is expressed with knowledge. SInce knowledge is one of my form will imply that all these sounds are of myself

वर्णाध्वनस्त्वियं रीतिर्मध्यमा कथिता तव।

आद्यामन्तां च देवेश गदन्त्या मे निशामय॥ ४६॥

varṇādhvanastviyaṁ rītirmadhyamā kathitā tava |

ādyāmantāṁ ca deveśa gadantyā me niśāmaya || 46 ||

O Lord of devas, this explanation of sound which is the middle path been told to you. Now hear me telling about the first and last.

इति श्रीपाञ्चरात्रसारे लक्ष्मीतन्त्रे वर्णोत्पत्तिनिरूपणं नाम एकोनविंशोऽध्यायः॥

iti śrīpāñcarātrasāre lakṣmītantre varṇotpattinirūpaṇaṁ nāma ekonaviṁśo'dhyāyaḥ ||

Thus ends the ninteenth chapter named Varna Utpatti Nirupanam in Lakshmi Tantram of Sri Pancharatra Saram