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The 艣补颈惫补 sources attribute cosmogonic power to 办耻峁囜笉补濒颈苍墨 as primordial sound manifest in the alphabet. I contextualise this in the 艣补颈惫补 sources before finding remnants in the 丑补峁环补. This material substantiates the 辫谤艒肠谤臅腻迟谤颈虫 and pralayatrix modality of 办耻峁囜笉补濒颈苍墨 but it is not emphasised in the early 丑补峁环补. It is most evident in the 痴补蝉颈峁ａ弓丑补蝉补峁僪颈迟腻 verse that stands as epigraph to this chapter: 办耻峁囜笉补濒墨 has the form of eight 辫谤补办峁泃颈s coiled eight times starting with the syllable a and ending with 办峁�a (痴补蝉颈峁ａ弓丑补蝉补峁僪颈迟腻 2.16abcd). In the later 丑补峁环补 corpus this inheritance may be subsumed under the rubric of dissolution through sound (苍腻诲腻苍耻蝉补苍诲丑腻苍补). Birch notes that in the later corpus 苍腻诲腻苍耻蝉补苍诲丑腻苍补 becomes entirely associated with laya yoga (Birch 2013:51).

Building on Padoux, Hatley summarises the development of 办耻峁囜笉补濒颈苍墨 in relation to sonic cosmogony by non-dual 艣补颈惫补 philosophers such as Abhinavagupta where 办耻峁囜笉补濒颈苍墨 was conceived in terms of cosmology and theories of language:

They in fact envisioned multiple 办耻峁囜笉补濒颈苍墨s, as reflected in a threefold scheme distinguishing 艣补办迟颈办耻峁囜笉补濒颈苍墨, 辫谤腻峁嘺办耻峁囜笉补濒颈苍墨, and par膩办耻峁囜笉补濒颈苍墨: the cosmogonic creative power, the vital energy of living beings, and the supreme, ineffable power of the divine, respectively. Thus conceived, 办耻峁囜笉补濒颈苍墨 represents 鈥渢he origin, the substance and the consummation of everything鈥�. Cosmologically, 办耻峁囜笉补濒颈苍墨 is the starting point of emanation when this is conceived of in terms of vibration or sound鈥攖he very stuff of creation. As the supreme creative energy, 办耻峁囜笉补濒颈苍墨 unites with 艢颈惫补 in the form of bindu, the 鈥榩oint鈥� or 鈥榙rop鈥� from which the primordial creation issues forth as subtle resonance. The creative activity of 办耻峁囜笉补濒颈苍墨 then gives rise to the Sanskrit alphabet in an emanative sequence, beginning with a鈥攖丑别苍肠别 mantra (the ultimate form of language) and the sequence of tattvas (ontic levels or planes of existence). (Hatley 2022:823; cf. Padoux 1990:124-143; Padoux in Brunner et al 2004:111; Silburn 1988:24).

Mirroring, or presaging, the movement of 办耻峁囜笉补濒颈苍墨, the 艣补颈惫补 sources incorporate the 鈥榬aising鈥� (耻肠肠腻谤补峁嘺) of a mantra as well as the repetition (japa) of a mantra. In 耻肠肠腻谤补峁嘺 the mantra, together with the yogi鈥檚 consciousness, is joined with the breath and raised up the body鈥檚 central channel (Mallinson and Singleton 2017:261; Brunner et al 2004:112). In twelfth-and pre-twelfth-century 蝉补颈诲诲丑腻苍迟颈办补 sources 办耻峁囜笉补濒颈苍墨 is associated with the most subtle form of sound and the source of all sound when she is the 艣补办迟颈 at the top of the cosmos rather than a coiled power at the base (Brunner et al 2004:110). In the 罢补苍迟谤补蝉补诲产丑腻惫补鈥檚 first chapter she is both coiled at the base and associated with sound (1.122cd) (Heilijgers-Seelen 1994:168-169; Brunner et al 2013:279).

The 叠谤补丑尘补测腻尘补濒补 situates the syllabic cosmogonic role of 办耻峁囜笉补濒颈苍墨 in an account very similar to those found in the 叠丑补颈谤补惫补尘补峁単补濒腻 and 罢补苍迟谤补蝉补诲产丑腻惫补. 碍耻峁囜笉补濒颈苍墨 is shaped like a coil in the alphabet, beginning with the vowels and associated with increasing numbers (but not eight); in her exist the 诲别惫墨s, 诲奴迟颈s, 测辞驳颈苍墨s and mothers and she creates all following the will of 艢颈惫补 (叠谤补丑尘补测腻尘补濒补 1.133) (Hatley 2007:311, 367-9). Thus, the 苍腻诲补 and mantra characterisation of 办耻峁囜笉补濒颈苍墨 in the 丑补峁环补 sources, alongside discussions of mantra that do not directly reference 办耻峁囜笉补濒颈苍墨, are set out in the 艣补颈惫补 sources clearly in relation to cosmogony.

In the seven cakra system of the 峁�a峁璫补办谤补苍颈谤奴辫补峁嘺,

These cakras symbolise the cosmic processes of emanation and re-integration in six levels and in them the 厂腻峁僰丑测补 categories and (on the phonic level) the letters of the Sanskrit alphabet are represented. By raising 碍耻峁囜笉补濒颈苍墨, the inner cosmic 艢akti, from the lowest cakra to the 厂补丑补蝉谤腻谤补, the absorption of the created world and identification of the individual soul with the Supreme is realized. (Heilijgers-Seelen 1994:17)

This and the other 艣补颈惫补 accounts of 办耻峁囜笉补濒颈苍墨 characterise her with sonic cosmogonic capacity. 碍耻峁囜笉补濒颈苍墨, 苍腻诲补 and bindu are intercalated in 艣补颈惫补 and 丑补峁环补 sources. They are also associated with rajas. In the 贬补峁环补辫谤补诲颈辫颈办腻 discussed in chapter three we saw that when the 测辞驳颈苍墨 preserved her rajas her bindu became 苍腻诲补 (贬补峁环补辫谤补诲墨辫颈办腻 3.98). Does the 艣补颈惫补 association of 办耻峁囜笉补濒颈苍墨 with the cosmogonic alphabet and the 辫谤补峁嘺惫补 carry over into 丑补峁环补, such that 办耻峁囜笉补濒颈苍墨 has a role in cosmogony and dissolution?

The 丑补峁环补 corpus contains some associations between 办耻峁囜笉补濒颈苍墨 and the production of sound as a cosmogonic process but not the intimate connection of the 艣补颈惫补 sources. In the 痴颈惫别办补尘腻谤迟补峁囜笉补 the 驳腻测补迟谤颈 arises from 办耻峁囜笉补濒颈苍墨: the 惫颈诲测腻 starting with 辞峁� which bears 辫谤腻峁嘺 arises from 办耻峁囜笉补濒颈苍墨 and who knows her knows yoga (痴颈惫别办补尘腻谤迟补峁囜笉补 31). Later, albeit not related to 办耻峁囜笉补濒颈苍墨, the 痴颈惫别办补尘腻谤迟补峁囜笉补 has an account of fixation (诲丑腻谤补峁嚹�) on the elements that variously includes seed syllables (痴颈惫别办补尘腻谤迟补峁囜笉补 134-138)^[1] and results in power over their associated elements. Curiously enough the 痴颈惫别办补尘腻谤迟补峁囜笉补 recommends a practice of 辞峁� that includes using the body as light (痴颈惫别办补尘腻谤迟补峁囜笉补 65-69)^[2] but does not specify what this practice is.

The 顿补迟迟腻迟谤别测辞驳补艣腻蝉迟谤补 does not link mantra with 办耻峁囜笉补濒颈苍墨. It gives one verse on mantra as it gives one verse on 办耻峁囜笉补濒颈苍墨.^[3] It defines mantra yoga as reciting a mantra after installing the letters of the alphabet on the body; by means of just one mantra siddhi may arise (顿补迟迟腻迟谤别测补测辞驳补艣腻蝉迟谤补 12). In the 痴补蝉颈峁ａ弓丑补蝉补峁僪颈迟腻 in the teaching on 辫谤腻峁嚹乱腻尘补 the 辫谤补峁嘺惫补 has a creative and destructive role: the first two sounds relate to creation and maintenance and the last, ma, is the destroyer or annihilator (痴补蝉颈峁ａ弓丑补蝉补峁僪颈迟腻 3.4). Again, without a specific association with 办耻峁囜笉补濒颈苍墨 but accompanied by sovereignty and laya, the 艢颈惫补sa峁僪it膩鈥檚 repetition of three seed-syllables (艢颈惫补sa峁僪it膩 5.234-236) is a mantra which bestows absolute sovereignty and pleasure (蝉补谤惫补颈艣惫补谤测补蝉耻办丑补辫谤补诲腻) (艢颈惫补sa峁僪it膩 5.233). After attaining dominion over women, men, rulers, kings, demons, snakes, celestial beings and becoming the consort of 艣补办迟颈 (艢颈惫补sa峁僪it膩 5. 242-250) the yogi dissolves in the absolute (艢颈惫补sa峁僪it膩 5.251). This material does not directly relate to 办耻峁囜笉补濒颈苍墨 but does carry forward from 艣补颈惫补 sonic cosmogony and dissolution. Ideas of sonic cosmogony and dissolution appear in yoga texts that precede and postdate the corpus detailed here but do not directly relate to 办耻峁囜笉补濒颈苍墨.^[4]

Predating what I refer to as the early 丑补峁环补 corpus the sound that 鲍诲诲腻濒补办补 makes while sitting in meditation consists of three and a half parts and is indirectly associated with 办耻峁囜笉补濒颈苍墨 (惭辞办峁�o辫腻测补 5.54.3-7). This precedes the immolation of his body that I recounted in chapter two in relation to baking the body. As well as the baking trope this episode integrates 办耻峁囜笉补濒颈苍墨: it is 办耻峁囜笉补濒颈苍墨 that enables his body to come back to life, though only tangentially linked with the three and a half of the 辞峁�. 鲍诲诲腻濒补办补 is reborn as N膩r膩y膩峁嘺 through the 辫谤腻峁嘺s reanimating 办耻峁囜笉补濒颈苍墨 (Cohen 2020:4).

A much later text, the 闯辞驳辫谤补诲墨辫颈办腻 teaches an explicitly tantric breath-control to re-enact the process of creation before enacting dissolution. Here the Sanskrit syllabary is internally recited in sequence while inhaling, holding the breath and exhaling; reciting it in reverse order re-enacts the process of destruction (Mallinson and Singleton 2017:264). The alphabetic cosmogony and dissolution of 办耻峁囜笉补濒颈苍墨 seems the model for this practice.

The 艣补颈惫补 sources clearly attribute 办耻峁囜笉补濒颈苍墨 with sonic and alphabetic cosmogonic and dissolving powers. This material is not, apart from the 痴补蝉颈峁ａ弓丑补蝉补峁僪颈迟腻, referenced in the 丑补峁环补 corpus. I have enumerated what traces remain. The clear association with 办耻峁囜笉补濒颈苍墨 demonstrated in the 艣补颈惫补 material is ruptured in the 丑补峁环补. Instead, it is likely that the practice of dissolution into sound (苍腻诲腻苍耻蝉补苍诲丑腻苍补) inherits this tantric genealogy.

Footnotes and references:

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[1]:

Though the earth element is not attributed a seed-syllable (痴颈惫别办补尘腻谤迟补峁囜笉补 134) the water element is accompanied by the seed-syllable ya (痴颈惫别办补尘腻谤迟补峁囜笉补 135ab), the fire element with ra (痴颈惫别办补尘腻谤迟补峁囜笉补 136ab), the air element with va (痴颈惫别办补尘腻谤迟补峁囜笉补 137ab) and the space element with ha (痴颈惫别办补尘腻谤迟补峁囜笉补 138). They are all accompanied by deities.

[2]:

翱峁� is described at 痴颈惫别办补尘腻谤迟补峁囜笉补 65 and equated with various things鈥攊t is correlated with the worlds, gods and great light (痴颈惫别办补尘腻谤迟补峁囜笉补 65), with bindu and light (痴颈惫别办补尘腻谤迟补峁囜笉补 67) and is that in which the threefold goddess (艣补办迟颈) are located as will, action and knowledge (产谤腻丑尘墨, 谤补耻诲谤墨 and 惫补颈峁ａ箛补惫墨) (痴颈惫别办补尘腻谤迟补峁囜笉补 68). 翱峁� should be repeated vocally, exercised using one鈥檚 body as light, and constantly thought on with the mind as the great light (痴颈惫别办补尘腻谤迟补峁囜笉补 69).

[3]:

碍耻峁囜笉补濒颈苍墨 is named in 顿补迟迟腻迟谤别测补测辞驳补艣腻蝉迟谤补 108 but implied in 108-112.

[4]:

Predating the 丑补峁环补 corpus, in 顿补迟迟腻迟谤别测补鈥檚 teachings in the 惭腻谤办补峁囜笉别测补辫耻谤腻峁嘺 chanting 辞峁� can bring about dissolution in the absolute. In 辞峁� are 痴颈峁ａ箛耻, Brahman, 艢颈惫补 and the 峁欢, 厂腻尘补 and Yajur Vedas, and the threeand-a-half syllables which lead to dissolution in brahman (惭腻谤办补峁囜笉别测补辫耻谤腻峁嘺 9). The syllables a, u and ma relate to earth, atmosphere and heavenly realms (惭腻谤办补峁囜笉别测补辫耻谤腻峁嘺 10). 翱峁� is considered to be three and a half (惭腻谤办补峁囜笉别测补辫耻谤腻峁嘺 11-12).