Yes Nesh, it is definitely a great read.

Namaste Dylan For a beginner, would you recommend Abhinavagupta’s commentary on Bhagavad Gita? I just stumbled on this, looks very cool. Also potentially very useful for discourse with so-called mainstream Hindus.

Namaste Prince. The word kalā means to throw out or circumscribe limits, or a part of something. This is an appropriate description for the phases of the Moon. Besdies just being a description of each phase of the lunar cycle, it coincides with the Moon's symbolic meaning. As the Nityās, they constitute the pulse of consciousness as time and the vital breath. The 21,600 breaths in a day are split into fifteen parts of 1,440 breaths each. Time is essentially the perception of succession amongst entities, and so is itself undifferentiated from the divisions it manifests. For this reason, kālaśakti is the Lord's creative power. The various phases of the Moon embody this succession. However, as the Moon remains essentially unchanging despite the appearance of succession, so does the highest reality remain unchanging despite manifesting itself as all things. When we worship the Nityās, we are engaged in a contemplation through which the divisions of time are subsumed into the eternal present of unchanging consciousness on account of the recognition that these divisions are ultimately held within this infinite presence. They are arranged around the central triangle because it is the Kula, the ocean of the energies of consciousness, simultaneously the totality of all things and the source. Hence, it is sometimes called the Island of the Moon, which is to say that it is the ocean of consciousness which is filled with its energies which arise from and are withdrawn into it like waves. Notice the ambiguity between the possessor and the possessed; island and ocean. Now the phases of the Moon also suggest the sixteen vowels. The letters are the reflective awarenesses that the supreme reality has of its own nature, manifesting as the totality of all things which are denoted by the letters, their denotators. In the normal ordering of the letters, the vowels and consonants are separated. The vowels represent the state of arousal or agitation, that is, the tendency of pure consciousness towards extroversion but still inwardly filled with an overarching oneness. You can think of this like all of the colors of a peacock's feathers which are contained in an archetypal, potential form in the yolk of the egg. The consonants, then, represent the act of arousal or agitation, that is, the external manifestation of the energies of consciousness which have built up within it like the waxing fortnight. From this we can understand that the vowels as the kalās of the Moon are the energies of consciousness which, having developed within it, spill out. For that reason, they manifest as the totality of all things. This is likened to the fact that consonants cannot be pronounced without a vowel sound, so the vowels are the 'seeds' which empower the 'wombs' of the consonants. Now concerning the sixteenth, there are varying views in the scriptures, though for the most part it is understood to be the Full Moon. In Śrīvidyā it is Mahānityā, the center of the lunar energies, that is, their source and essential nature. The Nityās are like extensions of Herself, Her rays. However, in other sampradāyas it is, naturally, understood to be the culmination of the lunar energies. It is visarga, the last vowel. Visarga is a slight continuation of the preceding vowel, and so represents the state of consciousness which, full to brimming with its energies, is ready to be emitted (another meaning of visarga). Keep in mind that this 'emission' is nothing more than the externalization or concretization of the reflective awareness of consciousness, but which is nevertheless entirely within itself. After all, where else could it go? Likewise, visarga is simultaneously the cause of this emission and is itself the emission. In Devanagari, visarga is written as two dots, one above the other. This symbolizes this 'internal exteriorization', a referentiality wherein that which is beheld is none other than the beholder. Again, this is symbolized by the fact that the enunciation of visarga is very slight. This is the intermediate form of the Unstruck Sound, the inferior form being the letter Ha, which is more enunciated than visarga and, being the last consonant, represents the entirety of the consonants, that is, the act of arousal/agitation. For those who have heard the Supreme Speech, this is nothing more than one's own reflective awareness; the relish of one's essential nature as the Moon of objectivity is consumed by the Fire of the subject, like ghee offered into a homa kuṇḍam. Now the New Moon is the supreme and most essential form of the Unstruck Sound, the inner, unchanging source of this activity. The Triśirobhairava Tantra says: "The form of the seventeenth energy of the Moon is the immortal nectar which is the supreme form of emission." It is the supreme reality's reflective awareness of its own nature which, though manifesting as Ḥ and Ha, remains reposed in its essential nature. That being the case, Ḥ and Ha are essentially just this. This is a great secret that cannot be fully conveyed with mere words. It is the Light of the Light of the Moon. If the Full Moon is the totality of all the other phases gathered together, the New Moon is its luminosity. I will end by saying that this all isn't just an idea. It is a reality which can be unveiled before your very eyes. Performing this greatest of sacrifices, who could stay on the ground?

Prince, thank you! This looks like what I am looking for. Is there an English translation of Thiruvarutpa?

Dear Dylan and friends, please refer to the short-write up by art-arghya on the Sapta-Dashi Kala: "The recurring cycles of creation and dissolution comprising the totality of cosmic time is symbolically structured in the waning and the waxing phases of the moon. The fifteen Nitya goddesses presiding over the fifteen lunar digits ( of both the waxing and the waning phases), are portions (कला) of the universal Shakti who embodies the totality of existence. Divided into three groups of five, they are stationed on the three lines that constitute the central triangle within the thousand petalled Sahasrara lotus above the head. At the centre of the triangle is the Mahabindu wherein reside the divine couple Shiva and Shakti in an indivisible union. Logically, this Mahabindu should be the ultimate point of unrecoiling non duality beyond time. However, the central Mahabindu is but an extention of the fifteenth digit Panchadashi and hence though timeless in one sense, it is but subject to waning. The lunar digit which truely transcends time and is not subject to waxing or waning is the sixteenth digit or Shodashi. This is Purnima par excellence, and is simultaneously Amavasya par excellence since the polarity between the two is now dissolved. Here, Shakti leaves the lap of Shiva and gradually reducing him to a corpse, rises beyond him through the lotus emerging from his navel. With Shiva gradually absorbed into herself, Shakti attains the state of Shodashi which is Full in the true sense since now she has transcended time completely. Yet it remains to be added that Shodashi's fullness is but static since being beyond all waxing and waning, it is devoid of the play of creation. Nothing can be added to it or can be reduced from it. As a result, Shodashi too is to be transcended in order to reach the ultimate digit which is Parashakti in her absolute fullness, which though on the one hand is beyond time, yet on the other is fully dynamic. Here, the indestructible oneness of the Absolute coexists with its blissful play of multiplicity in creation.This is the seventeenth digit Saptadashi who continually pours herself out in creation without compromising with her undepletable fullness. The Whole emerges out of the Whole and what remains is but the Whole in its wholeness. पूर्णात् पूर्णमुदच्यते। पूर्णस्य पूर्णमादाय पूर्णमेवावशिष्यते। Seen in respect to the waxing phase of the moon this Saptadashi Kala is the ultimate state of Mahatripurasundari, where her status as the Supreme Fullness (महापूर्णा, महासगुणा) is not antithetical to the other side of fullness, i.e., void. Again, approached through the path of Nirvana or the waning phase of the Nityas, this Saptadashi is the ultimate state of Kali whose status as the Supreme Void (महाशून्या, महानिर्गुणा) is not apart from her her being simultaneously the eteral fullness. The no moon or Amavasya and the new moon or Purnima are now the two sides of the same coin. This Saptadashi is verily the Virgin Uma venerated in the Shiva Sutras, since being of the nature of pure subjectivity even in creation, she can never be objectivated." I do not understand the ". Logically, this Mahabindu should be the ultimate point of unrecoiling non duality beyond time. However, the central Mahabindu is but an extention of the fifteenth digit Panchadashi and hence though timeless in one sense, it is but subject to waning. The lunar digit which truely transcends time and is not subject to waxing or waning is the sixteenth digit or Shodashi. This is Purnima par excellence, and is simultaneously Amavasya par excellence since the polarity between the two is now dissolved. Here, Shakti leaves the lap of Shiva and gradually reducing him to a corpse, rises beyond him through the lotus emerging from his navel. I do not understand this portion, “Yet it remains to be added that Shodashi's fullness is but static since being beyond all waxing and waning, it is devoid of the play of creation. Nothing can be added to it or can be reduced from it. As a result, Shodashi too is to be transcended in order to reach the ultimate digit which is Parashakti in her absolute fullness, which though on the one hand is beyond time, yet on the other is fully dynamic. Here, the indestructible oneness of the Absolute coexists with its blissful play of multiplicity in creation”. Mainly, how is Shodashi Kala different from Saptadashi Kala? Also how is the Mahabindu an extension of the 15th digit (what is the 15th digit, is it another bindu by itself ?), furthermore it will be really helpful if you could define ‘kala’ and take us through the entire subject matter from the scratch...thank you for your time and energy

உன்னை மறந்திடுவேனோ மறப்பறியேன் மறந்தால் உயிர்விடுவேன் கணந்தரியேன் உன்ஆணை இதுநீ என்னைமறந் திடுவாயோ மறந்திடுவாய் எனில்யான் என்னசெய்வேன் எங்குறுவேன் எவர்க்குரைப்பேன் எந்தாய் அன்னையினும் தயவுடையாய் நீமறந்தாய் எனினும் அகிலம்எலாம் அளித்திடும்நின் அருள்மறவா தென்றே இன்னுமிகக் களித்திங்கே இருக்கின்றேன் மறவேல் இதுதருணம் அருட்சோதி எனக்குவிரைந் தருளே "Would I ever forget you? I know not how to forget. If I do forget, I would give up my life—I cannot bear even a moment. This is your command. But would you forget me? If you do, What should I do? Where shall I go? To whom shall I speak, dear Lord? More compassionate than a mother, even if you forget me, Let me not forget your grace, which bestows the entire universe. With that vow, I still remain here in joy—forget not! This is the moment, O Divine Light of Grace, hasten to bless me."

Namaste Tivra ji. Divine Mother will surely inspire you to uplift ignorant souls like us. Your enlighted words are Hers. Once a soul reaches Supramental realm what does that soul do? How does life change? What are higher states in The Supramental Realm itself? Does this work in our current life, as of now? Or this sadhna will work in future? Thanks for your unlimited compassion.

Namaste. Thank you very much for this interesting reference. From the introduction to this book I understood that all modern mentions and cites from Sammohana Tantra, including J. Woodroffe, refer to some later text or individual chapters of other tantras. Could you please give some explanations as to who could be the Sammohana rishi, who appears in the viniyoga of the Matangi (Sarva-Sammohini) mantra and who is apparently associated with some other deities of similar forms, such as Saraswati Mohini...

i love you and please take care.

hi nesh, this is from 6th Thirumurai from Thiruvarutpa: THIRUVADI-NILAI (STATE OF THE DIVINE FEET) அடர்மலத் தடையால் தடையுறும் அயன்மால் அரன்மயேச் சுரன்சதா சிவன்வான் படர்தரு விந்து பிரணவப் பிரமம் பரைபரம் பரன்எனும் இவர்கள் சுடர்மணிப் பொதுவில் திருநடம் புரியும் துணையடிப் பாதுகைப் புறத்தே இடர்கெட வயங்கு துகள்என அறிந்தே ஏத்துவன் திருவடி நிலையே. Translation : Because of the dense veil of impurities, Even Brahma, Vishnu, Īshwara, Sadāśiva, The primal Bindu, the sacred syllable Om, The Supreme Brahman, Paraparam The Supreme beyond all supremes (Paran), All of them are but dust particles Clinging to the eternal and compassionate Sacred Feet of Refuge, That shine and dance in the Expanse of Radiance.