Adhyaya 347

Verse 1

इत्य् आग्नेये महापुराणे अलङ्कारे काव्यदोषविवेको नाम षट्चत्वारिंशदधिकत्रिशततमो ऽध्यायः अथ अधिकत्रिशततमो ऽध्यायः एकाक्षराभिधानं अग्निर् उवाच एकाक्षराभिधनञ्च मातृकान्तं वदामि ते अ विष्णुः प्रतिषेधः स्यादा पितामहवाक्ययोः

Thus, in the Agni Mahāpurāṇa, in the section on Alaṅkāra (Poetics), concludes the chapter entitled “Discrimination of Poetic Faults,” the three-hundred-and-forty-sixth. Now begins the three-hundred-and-forty-seventh chapter, “One-syllable Appellations.” Agni said: “I shall declare to you the one-syllable designations, together with the Mātr̥kā (the set of letters/phonemes). The syllable ‘a’ denotes Viṣṇu; and from ‘ā’ onward, according to the utterance of Pitāmaha (Brahmā), the remaining assignments are to be understood.”

Verse 2

सीमायामथाव्ययं आ भवेत्संक्रोधपीडयोः इः कामे रतिलक्ष्म्योरी उः शिवे रक्षकाद्य ऊः

‘Ā’ is an indeclinable (avyaya) used in the sense of “within a boundary/limit.” In the senses of intense anger and affliction or being pressed/struck, the particle ‘iḥ’ is used. In the sense of kāma (desire), and in reference to Rati and Lakṣmī, ‘ī’ is used. In the auspicious sense (Śiva), and in reference to protectors and the like, ‘uḥ’ and ‘ūḥ’ are used.

Verse 3

ऋ शब्दे चादितौ ऋस्यात् ऌ ॡ ते वै दितौ गुहे ए देवी ऐ योगिनी स्यादो ब्रह्मा औ महेश्वरः

The vowel ṛ signifies “sound” and also (the deity) Aditi. The vowel ḷ, and likewise ḹ, are said to denote Diti and the cave (guha). The vowel e denotes the Goddess; ai denotes the Yoginī; o denotes Brahmā; and au denotes Maheśvara (Śiva).

Verse 4

अङ्कामः अः प्रशस्तः स्यात् को ब्रह्मादौ कु कुत्सिते खं शून्येन्द्रियं खङ्गो गन्धर्वे च विनायके

The (syllable/word) ‘aḥ’ is used in the sense of “praiseworthy/excellent.” ‘ka’ denotes Brahmā and the like; ‘ku’ denotes what is contemptible; ‘kha’ denotes the void and also the sense-organs (as “empty”); and ‘khaṅga’ denotes a Gandharva as well as Vināyaka (Gaṇeśa).

Verse 5

गङ्गीते गो गायने स्यद् घो घण्टा किङ्किणीमुखे ताडने ङश् च विषये स्पृहायाञ्चैव भैरवे

In the sense of “song” (gīta), the syllable ‘go’ is used; in the sense of “singing” (gāyana), ‘gho’ is used. ‘gho’ also denotes a bell and the mouth/opening of a small bell (kiṅkiṇī). The syllable ‘ṅaś’ is used in the sense of “striking” (tāḍana), and also in the senses of “object/field” (viṣaya) and “longing/desire” (spṛhā), and likewise in the sense of the “terrible/fearsome” (bhairava).

Verse 6

चो दुर्जने निर्मले छश्छेदे जिर्जयने तथा जं गीते झः प्रशस्ते स्याद्बले ञो गायने च टः

The syllable “co” is used in the sense of a wicked person, and also of something pure. “cha” denotes cutting; “ji” denotes conquering. “jaṃ” is used in the sense of song; “jhaḥ” denotes what is commendable; “ño” denotes strength; and “ṭaḥ” denotes singing.

Verse 7

ठश् चन्द्रमण्डले शून्ये शिवे चोद्बन्धने मतः डश् च रुद्रे ध्वनौ त्रासे ढक्वायां ढो ध्वनौ मतः

The syllable “ṭha” is held to denote the lunar orb, emptiness (the void), Śiva, and “udbandhana” (binding up/suspension). The syllable “ḍa” denotes Rudra, sound, and fear; and “ḍha” is held to denote the sound produced in the utterance “ḍhakvā”.

Verse 8

णो निष्कर्षे निश् चये च तश् चौरे क्रोडपुच्छके भक्षणे थश्छेदने दो धारणे शोभने मतः

The element/affix “ṇo” is used in the sense of “drawing out” (extraction). “niś” conveys “certainty/ascertainment”. “taś” denotes “a thief” and also “a boar’s tail”. “bha” is used in the sense of “eating”. “tha” is used in the sense of “cutting”. “do” is used in the sense of “holding/supporting”, and also “adornment/beauty”—so it is held by the authorities.

Verse 9

ब्रह्मकाद्य ऊरिति ख प्रशान्तःस्यादिति ख धने इति ञ धो धातरि चधूस्तूरे नो वृन्दे सुगते तथा प उपवने विख्यातः फश् च झञ्झानिले मतः

The letter-group “kha” is used in the sense of “ūri” (indeed/abundantly) and also in the sense of “pacified/quieted”. The element “ña” is used with the meaning “wealth”. “dho” denotes “supporter/creator (dhātṛ)”. “dhūḥ” denotes “a thief”. “no” is used in the sense of “a multitude/group” and also “one who has gone well (sugata)”. “pa” is well known in the sense of “a grove/park (upavana)”. “phaś” is understood in the sense of “a gusty wind (jhañjhā-anila)”, a squall.

Verse 10

फुः फुत्कारे निष्फले च विः पक्षी भञ्च तारके मा श्रीर्मानञ्च माता स्याद्याग यो यातृवीरणे

“phuḥ” denotes a hissing/snorting sound (phutkāra) and also what is fruitless. “viḥ” means a bird. “bhañ” is used for a star/planet. “mā” can mean Lakṣmī (fortune) and also “mother”. “yāga” signifies a sacrificial offering/rite, and “yaḥ/yo” is used in the sense of a traveller and a hero (in battle).

Verse 11

रो बह्नौ च लः शक्रे च लो विधातरि ईरितः विश्लेषणे वो वरुणे शयने शश् च शं सुखे

The syllable “ro” denotes Agni, Fire. The syllable “laḥ” denotes Śakra (Indra). The syllable “lo” is declared to denote the Creator, Vidhātṛ (that is, Brahmā). The syllable “vo” denotes separation or division. The syllable “va” denotes Varuṇa. The syllable “śaś” denotes lying down or sleep. And “śaṃ” denotes happiness and well-being.

Verse 12

षः श्रेष्ठे सः परोक्षे च सालक्ष्मीः सं कचेमतः धारणे हस् तथा रुद्रे क्षः क्षत्त्रे चाक्षरे मतः

The syllable “ṣaḥ” denotes “the excellent”; “saḥ” denotes “the indirect or hidden (parokṣa)”. “Sā” is said to mean “together with Lakṣmī”. “Saṃ” is held to indicate “hair (kaca)”. “Has” denotes “support/holding (dhāraṇa)”, and also “Rudra”. The syllable “kṣaḥ” is regarded as denoting “kṣatra (royal power, warrior rule)”, and it is also counted among the syllables (akṣara).

Verse 13

क्षो नृसिंहे हरौ तद्वत् क्षेत्रपालकयोरपि मन्त्र एकाक्षरो देवो भुक्तिमुक्तिप्रदायकः

The one-syllable mantra “kṣo” is to be employed for Narasiṃha and for Hari; likewise, it is also used for the two Kṣetrapālas (guardians of the temple precinct or field). This single-syllable mantra is divine and bestows both bhukti (worldly enjoyment and prosperity) and mukti (liberation).

Verse 14

हैहयशिरसे नमः सर्वविद्याप्रदो मनुः अकाराद्यास् तथा मन्त्रा मातृकामन्त्र उत्तमः

Salutation to the (divine) Head of the Haihayas. This mantra-formula (manu) bestows all branches of knowledge. Likewise, the mantras beginning with the syllable “a”—the excellent Mātr̥kā (alphabet) mantra—are taught.

Verse 15

एकपद्मे ऽर्चयेदेतान्नव दुर्गाश् च पूजयेत् भगवती कात्यायनी कौशिकी चाथ चण्डिका

In a single lotus-diagram, one should worship these; and one should venerate the Nine Durgās (Nava-Durgā)—namely Bhagavatī, Kātyāyanī, Kauśikī, and also Caṇḍikā.

Verse 16

प्रचण्डा सुरनायिका उग्रा पार्वती दुर्गया ॐ चण्डिकायै विद्महे भगवत्यै धीमहि तन्नो दुर्गा प्रचोदयात् क्रमादि तु षडङ्गं स्याद्गणो गुरुर्गुरुः क्रमात्

(She is) Pracaṇḍā (the Fierce), the leader of the gods, Ugrā (the Terrible), Pārvatī, Durgā. “Oṁ—We know and contemplate Caṇḍikā; we meditate upon the Blessed Goddess (Bhagavatī); may that Durgā impel and inspire us.” In proper sequence the six-limbed (ṣaḍaṅga) nyāsa is to be applied; the metrical gaṇa-pattern is “guru-guru”, in order.

Verse 17

अजितापराजिता चाथ जया च विजया ततः कात्यायनी भद्रकाली मङ्गला सिद्धिरेवती

Then (she is called) Ajitā and Aparājitā; also Jayā and Vijayā; thereafter (she is) Kātyāyanī, Bhadrakālī, Maṅgalā, Siddhi, and Revatī.

Verse 18

सिद्धादिवटुकाः पूज्या हेतुकश् च कपालिकः एकपादो भीमरूपो दिक्पालान्मध्यतो नव

The Vaṭukas beginning with Siddha are to be worshipped; likewise (the forms) Hetuka and Kapālika. (Also) Ekapāda and Bhīmarūpa—these are the nine (deities/attendants) situated in the midst of the Dikpālas (guardians of the directions).

Verse 19

ह्रीं दुर्गे दुर्गे रक्षणि स्वाहामन्त्रार्थसिद्धये गौरी पूज्या च धर्माद्याः स्कन्दाद्याः शक्तयो यजेत्

For the accomplishment of the mantra’s intended result, one should recite: “Hrīṃ—O Durgā, O Durgā, O Protectress—Svāhā.” One should also worship Gaurī; and one should perform worship of the Śaktis beginning with Dharma and those beginning with Skanda.

Verse 20

प्रज्ञा ज्ञाना क्रिया वाचा वागीशी ज्वालिनी तथा कामिनी काममाला च इन्द्राद्याः शक्तिपूजनं

Worship (is to be offered to) the Śaktis named Prajñā (Insight), Jñānā (Knowledge), Kriyā (Ritual Action), Vācā (Speech), Vāgīśī (Mistress of Speech), Jvālinī (Flaming Power), Kāminī (Desire/Attraction), Kāma-mālā (Garland of Desire), and also to the powers beginning with Indra.

Verse 21

ओंगं स्वाहा मूलमन्त्रो ऽयं गं वा गणपतये नमः षडङ्गो रक्तशुक्लश् च दन्ताक्षपरशूतकटः

“Oṃ gaṃ svāhā”—this is the root-mantra; or one may use “gaṃ, salutations to Gaṇapati.” His six-limbed (aṅga-nyāsa) form is red and white; he bears a tusk, a rosary, an axe, and a goad (aṅkuśa).

Verse 22

समोदको ऽथ गन्धादिगन्धोल्कायेति च क्रमात् गजो महागणपतिर्महोल्कः पूज्य एव च

Then, in due sequence, he is to be invoked and worshipped as “Samodaka”, and as “Gandhādi-Gandholkāya”; also as “Gaja”, “Mahāgaṇapati”, and “Maholka”—indeed, he is to be worshipped by these names.

Verse 23

कुष्माण्डाय एकदन्तत्रिपुरान्तकाय श्यामदन्तविकटहरहासाय लम्बनाशाननाय पद्मदंष्ट्राय मेघोल्काय धूमोल्काय वक्रतुण्दाय विघ्नेश्वराय विकटोत्कटाय गजेन्द्रगमनाय भुजगेन्द्रहाराय शशाङ्कधराय गणाधिपतये स्वाहा एतैर् मनुभिः स्वाहान्तैः पूज्य तिलहोमादिनार्थभाक् काद्यैर् वा वीजसंयुक्तैस्तैर् आद्यैश् च नमो ऽन्तकैः

“Svāhā to Kuṣmāṇḍa; to the One-tusked One (Ekadanta), the Destroyer of Tripura (Tripurāntaka); to him whose dark tusk and awe-inspiring laughter are terrible; to the long-nosed/long-faced one; to him of lotus-like tusks; to Megholkā; to Dhūmolkā; to the Curved-trunked One (Vakratunḍa); to Vighneśvara; to the Fierce and Most-fierce (Vikaṭotkaṭa); to him whose gait is like the lordly elephant; to him who wears the king of serpents as a garland; to the Moon-bearing One; to the Lord of the Gaṇas—svāhā.” Having worshipped with these mantras ending in “svāhā”, one becomes qualified for rites such as sesame-offering homa and the like; or one may worship with seed-mantras (bīja) joined to syllables beginning with “ka”, and also with the earlier names ending with “namaḥ”.

Verse 24

मन्त्राः पृथक् पृथग्वा स्युर्द्विरेफद्विर्मुखाक्षिणः* कात्यायनं अकन्द आह यत्तद्व्याकरणं वदे

Mantras may be recited separately, one by one; or they may be arranged with doubled ‘repha’ (r) and with doubled letters such as those classed as ‘mukha’ and ‘akṣi’. Akanda declared this as the teaching of Kātyāyana; therefore I state that grammatical rule.