Siva Sutras: The Yoga of Supreme Identity

«That consciousness of samkara1 is (ever) victorious2 which in its wholeness is non-dual in reality though having an appearance of duality, from which the class of Rudra and ksetrajna3 springs and in which it comes to rest, which is the fundamental Reality (yat tattvam), from which bursts forth into view the universe, whose form is this universe, from whose unimpeded Free Will ever leaps forth his divine power which is a mass of bliss, bringing about the unsurpassed, immortal spanda4 principle (the primal creative pulsation).» — verso de apertura de la Vimarsini traducido por Singh: la plegaria a Samkara enuncia la no dualidad real bajo la apariencia de dualidad. La llamada de nota va pegada a la palabra en el impreso (*samkara1*, *victorious2*) y se conserva dentro de las comillas.

«Samkara is one who brings about the bliss of the revelation of the supreme non-dualism.» — nota de Singh al primer verso, con la etimología de Samkara.

«Ksetrajna: is the soul in bondage, known as pasu, full of» — nota de Singh: el ksetrajna es el alma en atadura; el tramo se corta en el cambio de plana y sigue en la 71 con *anava mala (inherent limitation) from Brahma down to the tiniest creature*.

«Rudras are the free souls whose anava mala has completely vanished. They are in the category of pati. They bring about Srsti (emergence) Sthiti (maintenance) and Samhara (withdrawal) of the world system according to the karmas of individuals.» — nota de Singh sobre los Rudras como almas libres de la categoría pati.

«Siva is directly concerned only with vilaya (veiling of the essential nature of the soul) and anugraha (grace or unveiling of the essential nature).» — nota de Singh que reserva a Siva el velar y el agraciar.

«Rudra corresponds to Isvara of Samkara Vedanta.» — nota de Singh que hace corresponder al Rudra del sistema con el Isvara de la Vedanta de Sankara.

«The word 'spanda' which literally means 'throb' or 'vibration' is difficult to translate, since it has a technical meaning in this system. It is the cosmic creative pulsation of the Absolute, throbbing with life, quickening to manifest.» — nota de Singh sobre spanda como término técnico intraducible.

«This verse is a prayer to the foundational Divine Consciousness. It also indicates the subject-matter of the sutras which is the non-dual Reality, from which arises every thing, and to which every thing is withdrawn. This is also a mangala-sloka or an auspicious verse written with the idea that the book may end successfully, without any difficulty or impediment.» — exposición de Singh: el verso es a la vez plegaria, enunciado del asunto y mangala-sloka.

«Having noticed confusion in the Siva-sutra-wttis owing to inconsistency with the sacred tradition (amnaya) of the teachers, I am expounding the siva-sutras according to their real meaning.» — verso introductorio de Ksemaraja traducido por Singh: la razón declarada de su comentario; el impreso rinde *vrttis* como *wttis*.

«Ksemaraja says that he noticed confusion in the Siva-sutra vrttis. That is why he is writing his vimarsini commentary. Vimarsini means a commentary based -on sound investigation and critical examination. It is not clear which Siva sutra vrttis Ksemaraja is referring to.» — exposición de Singh: define *vimarsini* y declara que no se sabe a qué vrttis se refiere Ksemaraja.

«There is a double entendre in the word viganatah. The prefix vi in the word may mean virodhena (virodhena ganatah) i.e., as opposed to the original meaning of the sutras or it may mean visesena (visesena ganatah) i.e., with a definite, clear understanding of the sutras.» — Singh consigna el doble sentido del término *viganatah* en el verso de Ksemaraja, sin escoger entre las dos lecturas.

«In the former case, the prose order will be vrttinam gurvamnaya-viganatah asmanjasyam alokya i.e.; noticing inconsistency in the interpretation of the sutras as given by the vrttis inasmuch as it is opposed to the sacred tradition of the ancient teachers; in the latter case, the prose order will be, siva-sutram gurvamnaya-viganatah vyakaromi i.e., I am expounding the Siva-sutras in accordance with the particular interpretation given by my guru, an interpretation which is wholly consistent with the ancient sacred tradition.» — Singh desarrolla las dos construcciones que salen de ese doble sentido; la línea continúa la anterior.

«In this world, there was on the mountain, Mahadeva one Guru (a Self-realized teacher) by the name Vasugupta who was a great personage1 and a devotee of Mahesvara (great Lord, the Supreme Divine), who, owing to excess of devotion to Mahesvara, which (devotion) blossomed forth by divine grace (Sakti-patonmisat), did not accept the teaching of Nagabodhi2 and other Siddhas3 obtaining in the inferior philosophical systems, who was given to the devotion to Siva, and whose heart had become pure by the correct and noble traditional teaching (sat-sampradaya-pavitrita-hrdayah) of the various Yoginis4 and siddhas5 pertaining to the supreme Lord.» — apertura del comentario de Ksemaraja traducido por Singh: presenta a Vasugupta en el monte Mahadeva y le adjudica el rechazo de la enseñanza de Nagabodhi. Las llamadas de nota van pegadas a la palabra en el impreso.

«Nagabodhi: He was a Buddhist teacher. He has written "Sri Guhyasamaja-mandalopayikavimsavidhi" which is based on 'Guhya-sarnaja' - a Buddhist Tantra. According to Alex Wayman, 'Guhyasamaja' was written in about the 4th century A.D. Nagabodhi may have utilized this book in about 500-700 A.D.» — nota de Singh que identifica a Nagabodhi como maestro budista y lo data por Alex Wayman.

«Yoginis: Self-realized female Yogis - representations of Sakti. 5. Siddhas here refers to the perfect male yogis who had realized the non-dualistic Truth as taught by the Saiva Agamas.» — notas de Singh que reparten yoginis y siddhas por sexo y por adscripción.

«Once upon a time his (Vasugupta's) genius was graciously infolded in dream by the great Siva disposed to impart grace, who with the intention that the esoteric traditional teaching may not be lost in the world of the living which was mostly influenced with dualistic philosophical view, imparted the following message.» — el comentario de Ksemaraja, traducido por Singh, narra el sueño de Vasugupta y le da un motivo: que la enseñanza esotérica no se pierda en un mundo ganado por el dualismo.

«"On the yonder mountain, there is the esoteric doctrine under a big stone-piece. Having obtained it, reveal it to those who are fit for grace."» — el mensaje que el comentario de Ksemaraja pone en boca de Siva.

«Having awakened, while searching about, he saw that big stone-piece, which turning round by a mere touch of the hand, confirmed his dream. He thus obtained the Siva-sutras which are a compendium of the secret doctrine of Siva.» — el comentario de Ksemaraja cuenta el hallazgo de la piedra y la obtención de los sutras.

«Having fully understood these, he revealed them to his excellent pupils like venerable Sri Kallata and others, collected and expounded them in the Spandakarikas.» — el comentario de Ksemaraja consigna la transmisión a Kallata y la recolección en los Spandakarikas.

«The exact meaning of those Spandasutras received by way of tradition has been fully explained by me in Spandanirnaya.» — Ksemaraja remite a su propio Spandanirnaya dentro del comentario.

«Naresvara-bheda-vadi. This may also refer to a book 'Naresvara-parlksa' by Sadyojyoti, which teaches bheda (difference) between nara or the human self and Isvara.» — nota de Singh que apunta a la Naresvara-pariksa de Sadyojyoti como blanco posible del pasaje; el impreso rinde el título como *Naresvara-parlksa*.

«Caitanyamatma Awareness which has absolute freedom of knowledge and activity. Self or nature of Reality. Awareness which has absolute freedom of all knowledge and activity is the Self or nature of Reality.» — sutra I.1 en transliteración con el desglose palabra por palabra y la traducción de Singh; el devanagari de la misma plana no se cita porque la capa de texto no lo rinde.

«A conscious being (cetana) is one who conscires (i.e. thinks), who is absolutely free in all knowledge and activity. Caitanya or consciousness is the state of one who is cetana or conscious.» — comentario de Ksemaraja al sutra I.1 traducido por Singh.

«The great Lord, Highest Siva alone has that (absolute freedom). Others (i.e., from the sakalas or individual souls) up to anasritasiva6 depending as they do on Highest Siva (tat paratantravrttitvat), do not have this absolute freedom.» — Ksemaraja reserva la libertad absoluta al Siva más alto y se la niega al resto de la escala; las llamadas de nota van pegadas a la palabra en el impreso, y el compuesto *anasrita-siva*, partido al fin de renglón, sale unido como *anasritasiva*.

«Though Highest Siva has infinite number of other attributes, such as eternity,7 all-pervasiveness, formlessness etc., yet because eternity etc. are possible elsewhere also, here it is intended to show the predominance of absolute freedom which is not possible in any other being.» — Ksemaraja explica por qué el sutra escoge caitanya y no la eternidad ni la omnipresencia.

«If Atma or varied nature is assumed to be non-conscious, then it would be inconscient matter and thus not Self. If it be considered to be of the very essence of consciousness, then there can be no valid reason for considering one atman or Self as different from another Self.» — Ksemaraja objeta la pluralidad de los Selves con una disyuntiva.

«Difference in the case of cit or consciousness cannot be established either by means of space or time or form, for if these (space, time and form) are different from cit or consciousness, then being deprived of the light of consciousness, they cannot appear at all and thus are unreal; if they appear, then they are consciousness itself (for it is only consciousness that can appear). Thus it is not possible to attribute difference to consciousness (i.e., Self) on the basis of difference in space, time and form.» — Ksemaraja niega que espacio, tiempo o forma puedan diferenciar la consciencia; tramo largo releído entero en el crudo.

«Sutra: Lit., 'thread', hence, it has come to mean that which like a thread holds together certain ideas, a rule, a formula, Cf. Latin, sutura, English suture. A sutra must contain the fewest possible words, must be free from ambiguity, must be meaningful and comprehensive, must not contain useless words and pauses and must be faultless.» — nota de Singh sobre qué es un sutra y qué requisitos formales tiene.

«The word 'atma' in the sutra means both Self and svabhava or nature of Reality. Hence the sutra is interpreted in two ways - (1) Being-Awareness (Sat-cit) is Self. (2) Being-Awareness is the nature of Reality i.e., Reality is nothing but Awareness.» — nota de Singh con las dos lecturas del sutra I.1.

«There is no word for caitanya in English. The word 'consciousness' has a relational colour, (of subject-object duality), but caitanya is non-relational. Perhaps the word awareness or Being-Awareness may be better. With this caution, the word 'consciousness' may be used.» — nota de Singh que declara intraducible *caitanya* y propone *awareness*.

«Our discursive mind, inseparable from the conditioned, relational state cannot conceive of mere caitanya - a self, without a predicate relation between it and its attribute or nature, but all the major systems of Indian Philosophy maintain that the Self is pure awareness, non-relational (i.e. without subject-object relation) and without a predicate relation in its essential form.» — nota de Singh que atribuye a todos los sistemas mayores de la filosofía india la tesis del Sí mismo como pura conciencia no relacional.

«The word prakasa 'means 'light', but it is not in the sense of physical light in which this word is used in Indian Philosophy. Prakasa is the light of consciousness by which even physical light is visible. Hence wherever there is any appearance, there is prakasa or presence of consciousness. Without prakasa or light of consciousness, nothing can appear, just as without physical light, nothing is visible.» — nota de Singh sobre prakasa: no es luz física sino aquello por lo que la luz física se ve.

«"Consciousness is the supreme light. No physical light such as the sun, moon or stars or lightning shines there, to say nothing of fire. Consciousness is its own light. It shining, everything else shines in its wake. It is by its light alone that every thing else appears."» — Singh trae en nota el pasaje del Katha Upanisad II 2, 15 sobre la luz propia de la consciencia.

«Svatantrya: This word literally means self-dependence. It is a technical word of this system. It includes three important ideas - (1) absolute freedom to create, complete autonomy of Will, not depending on any external material or means for its activity, absolute sovereignty or lordship (aisvarya), (2) Vimarsa or ever present Self-consciousness, a Self which is all-inclusive (knower, known and means of knowing) (3) Jnana and kriya. The absolute freedom to create includes jnana and kriya (knowledge and activity).» — nota de Singh que desglosa la svatantrya en tres ideas.

«Siva in this system is not like the inactive Brahman of Samkara Vedanta. He has svatantrya, unimpeded Will, absolute knowledge, absolute power of creativity, and absolute Self-consciousness.» — nota de Singh que opone el Siva del sistema al Brahman inactivo de la Vedanta de Sankara.

«Anasrita Siva: This is a state below Sakti tattva and above Sadasiva tattva. This is only an avastha or state, not a tattva. This refers to that phase of reality where Sakti begins» — nota de Singh sobre el Anasrita Siva como estado y no tattva; el tramo se corta en el cambio de plana y sigue en la 79.

«Mala: This literally means dross, taint or impurity. Mala is what covers and conceals the pure gold of divine consciousness. It is a limiting condition which hampers the free expression of the spirit. It is of three forms, anava mala, mayiya mala and karma mala.» — nota de Singh sobre el mala con la imagen del oro cubierto.

«Anava mala: It is the primal limiting condition which reduces the universal consciousness to that of an empirical being. It is a cosmic limiting condition over which the individual has no control. It is owing to this that the jiva or individual soul considers itself apurna or imperfect, a separate entity cut off from the universal consciousness. The greatness of Siva in this condition is concealed, and the individual forgets his real nature.» — nota de Singh sobre el anava mala como condición cósmica fuera del control del individuo.

«The anava mala is brought about in two ways. There may be bodha or knowledge, but the perfect I-consciousness whose nature is freedom of all cognition and activity may be missing (as in Vijnanakala) or there may be I-consciousness with abodha or ignorance (as in common folk).» — nota de Singh con las dos maneras del anava mala, según falte la I-consciencia o el conocimiento.

«Anadisiva: Some theorists hold that there are two kinds of Siva - one, Anadisiva who never assumes mala and thus never» — nota de Singh que consigna la teoría de los dos Sivas; el tramo se corta en el cambio de plana.

«Ksemaraja controverts this view and says that such so-called liberated Sivas are no better than transmigratory souls, as is the case of the empirical self who considers the body etc. (not-Self) to be the Self.» — Singh consigna que Ksemaraja objeta esa teoría de los dos Sivas.

«And so in order to explain to the inquisitive disciples 'what is Self, the author says, "It is not the body, as maintained by the common folk and the materialists (Carvaka), not the vital principle (prana) as maintained by the followers of the Vedas, not the ascertaining power of the mind as maintained by the Yogacara Buddhists, nor the Void as maintained by the Madhyamika Buddhists, but as has already been said, it is the foundational consciousness (absolute Will characterized by knowledge and activity).» — el comentario de Ksemaraja, traducido por Singh, niega el Sí mismo a cuatro posiciones nombradas: los materialistas Carvaka, los seguidores de los Vedas, los budistas Yogacara y los Madhyamika.

«''Consciousness is the nature of Self which verily is the Divine Self freed of all limiting conditions.» — el comentario de Ksemaraja cita el Mrtyunjit; el tramo se corta en el cambio de plana.

«It has been said in Vijnana-bhairava also "The same Self characterized by consciousness is present in all the bodies; there is no difference in it anywhere. Therefore, a person contemplating on every thing as full of that (consciousness) can conquer transmigratory existence." (Verse 100).» — el comentario de Ksemaraja cita el verso 100 del Vijnana-bhairava sobre la identidad del Sí mismo en todos los cuerpos.

«"The principle (i.e. the divine autonomy) of that source should be investigated with persevering effort, zeal and faith from which the group of outer senses together with the inner Karanesvari cakra,3 though apparently inconscient, acting like a conscious being, acquires the power to move forward towards an object (pravrtti), to take pleasure in maintaining it after having obtained it (sthiti), and to withdraw within the peace of oneself (Samhrti).4 The absolute freedom of that source is natural and spontaneous5 in all beings and conditions".» — el comentario cita Spandakarika I, 6-7: los sentidos, inconscientes de suyo, actúan como conscientes por una fuente que hay que investigar.

«Vasugupta was the teacher who for the first time expounded the Saiva philosophy in a systematic form. He lived towards the end of the 8th or beginning of the 9th century A.D.» — nota de Singh que data a Vasugupta y le adjudica la primera exposición sistemática.

«The Karanesvari Cakra is the group of divine powers functioning in the various senses.» — nota de Singh sobre el Karanesvari Cakra.

«Moreover the aforesaid consciousness is the atma or nature of the entire universe consisting of both existent objects (like 'jar' or cloth) or non-existent but imagined objects (like skyflower). This interpretation is possible, because there is no mention in the sutra of the self of any particular being.» — Ksemaraja extiende el sutra I.1 a lo existente y a lo meramente imaginado, como la flor del cielo; el impreso escribe *sky-flower* partido al fin de renglón y la extracción lo devuelve unido como *skyflower*.

«Every appearance owes its existence to the light of consciousness. Nothing can ever have its own being without the light of consciousness. Being experienced, it is of the nature of consciousness itself, because of its being identical with that light.» — Ksemaraja deriva toda aparición de la luz de la consciencia.

«"Oh dear one, so long as there are no knowers, how can there be anything known. The knower and the known are really the same principle. Therefore, there is nothing which is inherently impure."» — Ksemaraja cita el Ucchusmabhairava y saca de ahí que nada es impuro por sí.

«"The Self is the whole of reality, because all existents derive their existence from the Self, and because in the process of knowing, the known gets identified with the Self."» — Ksemaraja cita la Spandakarika; la llamada de nota queda pegada a la comilla en el impreso.

«Hence whether in the world or object or mental apprehension of it, there is no state which is not Siva. It is only the experient who always and everywhere exists in the form of the experienced."» — continuación de la cita de la Spandakarika en el comentario de Ksemaraja.

«Since consciousness is the nature of the universe, therefore in order to prove it, the means of right knowledge etc. (pramanas) are inadequate, for these means of right knowledge are themselves dependent for their proof on the Self-luminous consciousness, and consciousness being ever luminous, it is impossible for anything whatever to veil it, as it is ever luminously present.» — Ksemaraja niega que los pramanas puedan probar la consciencia, porque dependen de ella.

«AS has been said in Sri Trikahrdaya "Just as (when) one tries to jump over the shadow of one's head with one's own feet, the head will never be at the place of one's feet, so also is it with Baindavi kala."» — Ksemaraja cita el Sri Trikahrdaya con el símil de saltar sobre la sombra de la propia cabeza.

«Baindavi Kala: means the sakti of para-pramata or highest knower. Vetti iti vinduh. The Highest Self or consciousness» — nota de Singh que desglosa *baindavi kala*; el tramo se corta en el cambio de plana y sigue en la 84.

«which is the knower is known as Vindu or Bindu. Bindoriyam iti baindavi. Baindavi means pertaining to Bindu. Kala means sakti. Baindavi Kala, therefore, means 'the power of knowership of the Highest Self or consciousness'. Here it means the power of the Self by which it is always the knower and never the known.» — continuación de la misma nota ya en la plana 84: el poder de ser siempre conocedor y nunca conocido.

«The most important point to note in the first Sutra is that caitanyam in this system does not mean merely consciousness. Since it is the abstract noun derived from cetana i.e. one who conscires, one who cognizes, it connotes the idea of both knowledge and activity. Caitanyam, therefore, in this system means Sarvajnanakriyamayam paripurnam svatantryam, the perfect, absolute freedom of cognizing and doing everything.» — exposición de Singh sobre el primer punto del sutra I.1.

«The fourth important point is that caitanya cannot be proved by any logical means, for all means of proof owe their existence to it, and so cannot prove their own source.» — exposición de Singh sobre la imposibilidad de probar el caitanya.

«Lastly this system is against the theory of the plurality of Self. The nature of all Selves is consciousness. Consciousness qua consciousness is the same in all Selves. Therefore the theory of the plurality of Self is not satisfactory.» — exposición de Singh que cierra el sutra I.1 con la negativa a la pluralidad de Selves.

«Ksemaraja cautions - that this sutra is to be read in two ways (1) according to the rules of Sandhi (euphonic coalescence of the final and initial letters) with the coalescence of the final and initial letters in which case this sutra combined with the previous one would stand thus: (Caitanyamatmajnanam bandhah) i.e. the form of the sutra would be caitanyamatma + ajhanam bandhah, (2) without the coalescence of the final letter of the previous sutra and the initial letter of the second sutra in which case the second sutra would stand separately simply as jnanam bandhah.» — Singh consigna las dos lecturas del sutra I.2 que Ksemaraja admite, según se aplique o no el sandhi con el sutra anterior.

«Jnanam Bandhah. vitiated or limited knowledge; bondage; Sutra - Ajnana or ignorance of one's real nature which is a kind of shrunken or limited knowledge is the cause of bondage (of the empirical Self).» — sutra I.2 con su desglose y la traducción de Singh.

«The dualists maintain that there are two separate realities,, viz. Siva and mala. (Since it has already been proved that there is nothing separate from consciousness), how can there be separate existence of mala and how can this mala veil consciousness of a Self? Therefore, Malinivijaya by rejecting the way of the dualists says.» — Ksemaraja objeta a los dualistas que no puede haber un mala separado de la consciencia; el impreso dobla la coma en *realities,,*.

«"Mala, it is said, is nothing but ajnana or ignorance of one's real nature. This ajnana is the anava mala1 which is the cause of samsara or mayiya mala which again serves as the cause of Karmamala".» — el Malinivijaya citado por Ksemaraja identifica el mala con la ignorancia de la propia naturaleza.

«"People are bound by ajnana and on account of this (ajnana) they undergo birth and death."» — el Sarvacara citado por Ksemaraja.

«A limitation is made to appear by the Highest Lord in His own being which is pure like the sky in the form of anasrita siva etc. down to mayapramata.2 This limitation is due to His power of Mahamaya3 which is simply a form of Self-veiling brought about by His power of absolute freedom.» — Ksemaraja hace de la limitación un autovelamiento del propio Señor y no una segunda realidad; las llamadas de nota van pegadas a la palabra en el impreso (*mayapramata.2*, *Mahamaya3*) y se conservan dentro de las comillas.

«Anava mala is of two kinds - (1) Paurusa - ignorance innate in the very being of the individual Self, and bauddha - ignorance inherent in the buddhi.» — nota de Singh con las dos clases de anava mala.

«Mahamaya. There are two states of mahamaya - apara and para. Apara is that which flourishes below Suddhavidya and above maya. In this are stationed the Vijinanakalas. It also denotes that mentality of the experients by which they have suddha prakasa or clear knowledge but are devoid of pure, full I-consciousness.» — nota de Singh sobre los dos estados de mahamaya.

«I have shown at great length while discussing diksa (initiation) in my commentary Udyota on Svacchanda Tantra at the end of the 5th patala that mala as something separate from consciousness cannot be proved logically.» — Ksemaraja remite a su propio Udyota sobre el Svacchanda Tantra.

«The same purport of the above sutra has been epitomised in the following verse (in Spandakarika). "The empirical self is reduced to inefficiency on account of his innate impure limiting conditions (anava, mayiya and karma mala) He is driven to desire various objects, but owing to his inefficiency is never fully satisfied. When the restless condition of his mind brought about by his identification of himself with his conditioned selfhood fully ceases, then he experiences the highest state" (sp. k. 1.9)» — la Spandakarika I.9 citada por Ksemaraja: el yo empírico queda ineficaz por los tres malas y no se sacia. El volumen reimprime este mismo verso en la plana 92 con variantes de puntuación, así que el ancla va en la primera aparición.

«"The pasu (conditioned individual) has all his knowledge born of sense and ideation. It is because of this sense and ideation-born knowledge that he loses the enjoyment of the ambrosia of the Highest Self and his innate freedom, Such sense and» — la Spandakarika III, 14 citada por Ksemaraja; el tramo se corta en el cambio de plana y sigue en la 88.

«ideation-born knowledge is confined to the sphere of the tanmatras i.e. sound, colour and form, taste, touch, and odour and the pleasures derived from them".» — continuación de la misma cita de la Spandakarika ya en la plana 88.

«Ajnana or primal ignorance appears in two forms - (1) atmani anatmabhimana i.e. considering the real Self as not Self (not knowing the real Self as Self), and (2) anatmani atmabhimana i.e. considering the not-Self i.e. body etc. as the Self.» — nota de Singh con las dos formas de la ignorancia primordial.

«It has been indicated in the previous sutra i.e. the first sutra that the word caitanya connotes svatantrya i.e. absolute freedom to know everything and absolute freedom to do everything (jnana-kriya-svatantrya). Now in respect of this (double-faced) svatantrya, even if there be only prakasa or jnana (cidatmani api), but without kartrtva-svatantrya, in other words, without I-consciousness, which leads one to consider onself incomplete or deficient as in the case of Vijtianakala1, there is anava mala; or even if there is svatantrya in the form of kartrtva (doership indicating I-consciousness) but full of abodha or ignorance leading to consider the not-Self like the body etc. as the Self (as in the case of sakala), then again there is anava mala.» — Ksemaraja deriva el anava mala de la falta de una u otra mitad de la svatantrya; el impreso rinde *Vijnanakala* como *Vijtianakala* y la llamada de nota va pegada a la palabra. (cita larga, releída entera en el crudo: pasa de 700 caracteres)

«Vijnanakala: the experient below suddhavidya but above Maya. He has pure awareness but no agency. He is free of karma and mayiya mala, but is not yet free of anava mala.» — nota de Singh sobre el Vijnanakala como experimentador con pura conciencia y sin agencia.

«Ignorance or ajnana is not negative; it is positive, a kind of positive jnana, a shrunken, vitiated knowledge. It is this shrunken, vitiated jnana which is responsible for the individual's bondage.» — exposición de Singh: la ignorancia es un conocimiento positivo encogido y no una ausencia.

«What is this anava mala due to? It is due to a wonderful power of Siva (the Supreme). A person may conceal everything, but he cannot conceal his own nature. But Siva has this wonderful power of veiling his real nature. This Self-veiling power of Siva is known as Mahamaya.» — exposición de Singh sobre el poder de autovelamiento, con el contraste entre lo que puede ocultar una persona y lo que puede ocultar Siva.

«In the anu, (the limited individual), that Self-veiling works as mala. This Self-veiling is His technique or stratagem for the play of life in varied, multiple forms.» — Singh llama estratagema al autovelamiento, para el juego de la vida en formas múltiples.

«Is anavamala as described the only cause of bondage? The next sutra says, No. (There are other causes also, viz. mayiya and karma mala).» — Ksemaraja introduce el sutra I.3 por la pregunta que deja abierta el anterior.

«Yonivargah kalasariram the source (of the objective world) i.e. maya. class of tattvas (principles and elements). Yonivargah, therefore,; means maya and her brood i.e. the class of elements to which she gives rise and which thus constitute the source of this world activity; form = whose form is activity i.e. activity through which worldly life is carried out. So yonivargah is mayiya mala and kalasariram is karma mala.» — sutra I.3 con el desglose palabra por palabra y la lectura de Singh.

«This sutra has been slightly differently interpreted by Bhaskara in Siva-sutra-varitikam. According to him Yoni means the four Saktis of Amba, Jyestha, Raudrl and Varna. Kala means letters from 'a' to 'ksa' which bring about words. The above saktis through the influence of words bring about thought-constructs owing to which the Self is reduced to an empirical being and thus surfers bondage. Ksemaraja's interpretation is better.» — Singh consigna la lectura distinta de Bhaskara, que toma yoni por las cuatro saktis, y declara su preferencia; el impreso rinde *varttikam* como *varitikam* y *suffers* como *surfers*.

«Yoni means the source of this world i.e. Maya. Vargah means (tattva-samuhah) the class of elements associated with Maya directly or through successive stages. This brings about body, worlds, kala (limited agency) etc.1 down upto earth. So Yonivargah means Mayiya mala.» — comentario de Ksemaraja traducido por Singh: yonivargah es el mayiya mala; las llamadas de nota van pegadas a la palabra.

«Kala is that which divides the world of entities into separate things as this or that by mental impenetration, in other words, 'activity'. Sarira means form. Kalasariram, therefore, means 'that whose form is activity', that is to say, Karma mala.1 (Like the Mayiya mala), this karma mala is also the cause of bondage.» — Ksemaraja define kalasariram como karma mala.

«Mayiyamala is the mala or limitation due to maya which gives to the soul its gross and subtle body and brings about sense of difference. Karma mala is mala due to vasanas or impressions left behind on the mind due to karma or action.» — nota de Singh que separa mayiya mala y karma mala por su origen.

«That this is so may be understood from my (Ksemaraja's) commentary Spandnirnaya on Spandakarika. These kala etc. whose characteristic is limited agency etc. are attached to anava mala as their base and veil the essential nature of jivas (empirical selves). Thus it is fully established that they are malas or limiting conditions.» — Ksemaraja remite a su Spandanirnaya y ata las kancukas al anava mala como base; el impreso rinde el título como *Spandnirnaya*.

«"Caitanya (Freedom of the Self to know and do every thing) is suppressed by mala (i.e., anava ma/a) and provided with kala and vidya, is tainted by raga, limited in respect of kala (time), restrained by niyati. magnified by the sense of being a Purusa (an empirical self), furnished with the disposition of Prakrti,» — el Svacchanda citado por Ksemaraja describe el encadenamiento del caitanya por mala, kancukas y gunas; el tramo se corta en el cambio de plana.

«"When there is ignorance of real Self, then Anava mala being present, there arise mayiya mala bringing about a sense of difference in respect of every object, and karma mala which brings about birth and experience of pleasure and pain (bhoga). All the three malas are brought about by the Maya Sakti of Siva."» — la Isvara-pratyabhijna citada por Ksemaraja: los tres malas salen de la Maya Sakti de Siva.

«Maya Sakti is the inherent power of Siva by which He appears in different forms. Maya Sakti is different from Maya tattva (the material origin of the various objects in the universe).» — nota de Singh que separa Maya Sakti de Maya tattva.

«Mayiya mala provides the individual with the physical and psychic vehicles in which he is 'cabined, caged and confined', and Karma mala makes him commit motivated actions. These and their residual traces are not airy nothing. They are karmika forces that drag the individual to earth-life again and again.» — exposición de Singh sobre los dos malas añadidos; la frase entrecomillada *cabined, caged and confined* la mete Singh sin nombrar su procedencia.

«Jnanadhisthanam matrka (limited knowledge), basis, seat. - the basis of these limited kinds of knowledge (anava, mayiya, and karma) (unknown, ununderstood) Mother or Power of Sound corresponding to the letters of the alphabet. This Power is called Mother, because it produces the entire universe-It is the un-understood Mother or Power of Sound inherent in the alphabet that is the basis of the limited knowledge (in the form of anava, mayiya and Karma mala).» — sutra I.4 con su desglose y la traducción de Singh: la Matrka como base del conocimiento limitado.

«Of this threefold limited knowledge, that which makes oneself consider himself as incomplete and imperfect is the anava mala; that which brings a sense of difference in every thing is maylya mala; that which makes one perform good or bad deeds is karma mala.» — Ksemaraja reparte los tres malas por su efecto; el impreso rinde *mayiya* como *maylya*.

«Of this threefold limited knowledge, matrka,1 or alphabet from a to ksa the mother of the entire universe is the presiding deity. She is called matrka, because she is unknown, ununderstood.» — Ksemaraja declara a la Matrka deidad presidente del conocimiento limitado; el tramo cruza el cambio de plana.

«Matrka: The 'ka' suffix in Samskrta denotes the idea that the thing to which this suffix is added is unknown or un-understood. Hence Matrka means the mother who is not properly known or understood. Matrka is the subtle form of gross speech. The letters and their ultimate essential nature are known as Matrka. When unknown, the Matrka impels people towards all kinds of worldly activities and feelings. When the Matrka is known i.e. when her saving power is realized, she leads one to liberation.» — nota de Singh sobre el sufijo *ka* y el doble efecto de la Matrka.

«She (Matrka) brings about knowledge in a limited form, e.g. "I am imperfect" (anavama/a) "I am thin or fat." (mayiya mala), "I am a performer of agnistoma sacrifice" (karma mala). Such knowledge is subtle or in a concretely expressed form (avikalpakasavikalpaka - paramaria - mayasya), and by the penetration of different communicative words in the minds of the listener brings about a feeling of sorrow, pride, joy, and passion.» — Ksemaraja da tres ejemplos de conocimiento limitado, uno por cada mala.

«"The Mahaghora1 Saktis who are the deities of the pithas.2» — el Timirodghata citado por Ksemaraja sobre las Mahaghora Saktis; el tramo se corta en el cambio de plana y sigue en la 96 con *who hover about the consciousness in Karandhra3*. Las llamadas de nota van pegadas a la palabra en el impreso.

«who hover about the consciousness in Karandhra3 i.e. Brahmarandhra with a terrible noose delude people constantly".» — continuación de la misma cita del Timirodghata ya en la plana 96.

«She (Matrka) shines in the line of Saktis presiding over varga (classes of letters)4, kald5 (the subtlest aspect of the objective world) etc.6 in the form of Brahmi and other Saktis; she rouses people to ail kinds of activity and feeling by means of the arrangement of a succession of letters of a script - a fact which is very well made clear in the Sarvavira and other agamas; she is closely united with the group of Saktis known as Arnba,7 Jyestlia,» — Ksemaraja describe a la Matrka repartida en las saktis que presiden las clases de letras; el impreso rinde *all* como *ail*, *Amba* como *Arnba* y *Jyestha* como *Jyestlia*, y el tramo se corta en el reenvío de plana.

«There are three Saktis, Ghora, Ghoratari or Mahaghora and Aghori. The Ghora (terrible) are the innumerable Saktis (powers) who provide worldly pleasures to men and put obstacles in their path of spiritual progress. The Ghoratari or Mahaghora are those innumerable saktis who delude the worldly-minded people and drive them more and more towards worldliness. The Aghora are those saktis who inspire the jivas (empirical selves) towards the path of liberation.» — nota de Singh que reparte las tres clases de Saktis por lo que hacen con el aspirante.

«'Ka' in the context means Brahman. Karandhra, therefore, means Brahmarandhra. This is a psychic centre above the head.» — nota de Singh que resuelve *Karandhra* como Brahmarandhra.

«Kalas are the specific modes of Sakti. They are the subtlest aspects of the objective world.» — nota de Singh que define las kalas como modos específicos de Sakti.

«Nivrtti kala is so called because here the manifesting energy is stopped and is turned upwards. It is the essential working force in Prthivi tattva (solidity). There are 16 bhuvanas in this.» — nota de Singh sobre la primera de las cinco kalas y sus bhuvanas.

«Arnba, Jyestha, Raudri and Vama: Amba is the Sakti that puts obstacles in all the actions. Jyestha is Sivamayi the Sakti who leads to liberation. Varna is the Sakti who is active in the manifestation of the world. Raudri is the Sakti who brings about obstacles for the wicked and destroys them for elevated souls.» — nota de Singh que reparte a las cuatro Saktis por su oficio; el impreso rinde *Amba* como *Arnba* en el lema y *Amba* en el cuerpo.

«Because that (Matrka) is the basis (of all limited knowledge), therefore, one is deprived of the investigation of the inner non-difference (from the fullest I-consciousness of Siva) and all one's knowledge is outward - turned without ceasing for a moment. Therefore, it is rightly maintained that all such knowledge is the cause of bondage.» — Ksemaraja cierra el sutra I.4 haciendo de la Matrka la raíz del conocimiento hacia afuera; el impreso parte *non-difference* al fin de renglón.

«"He (the limited, empirical self) being deprived of the knowledge of his essential Self by the Kaliis i.e. the letters 'ka' etc. falls a victim to the group of Saktis like Brahmi etc. arising from» — la Spandakarika III, 13 citada por Ksemaraja: las letras privan al yo del conocimiento de sí; el tramo se corta en el cambio de plana y sigue en la 98.

«"His Saktis (inherent in letters described before) are always in readiness in veiling his essential real Self, because all his ideas cannot arise without the use of words."» — la Spandakarika III, 15 citada por Ksemaraja: ninguna idea surge sin palabras.

«The basis of all the three males is word-bound ideas. The words are a reflex of the letters and their sound known as Matrka, so, ultimately it is Matrka which is responsible for the limited knowledge i.e., the three malas. Words have a tremendous influence in shaping our ideas which do not allow us to realize the splendour of Siva-consciousness imprisoned within ourselves.» — exposición de Singh sobre el sutra I.4; el impreso rinde *malas* como *males* en la primera ocurrencia.

«Now the next sutra teaches that the quintessence of the means for the cessation of the bondage brought about by the limited knowledge consists in resting in .Bhairara-consciousness.» — Ksemaraja introduce el sutra I.5; el impreso rinde *Bhairava* como *Bhairara*.

«Udyamao Bliairavah. in this context means, as Ksemaraja rightly suggests, sudden emergence of (divine) consciousness; it is an opening out, an efflorescence of consciousness. Udyamah in this sutra does not mean exertion or effort. The word is formed from ut + yam. Ut means 'up', 'upwards' and yam means to raise, to hold, (vide Monier-Williarn's Sans-English Dy.) Udyamah, therefore, means 'raising up','elevation of consciousness'.» — sutra I.5 con el desglose de Singh, que remonta *udyamah* a *ut + yam* y remite al diccionario de Monier-Williams; el impreso rinde *Udyamo Bhairavah* como *Udyamao Bliairavah*.

«That is udyama which is an emergence of an awareness in the form of highest pratibha1 which is a sudden springing up (i.e. which is a sudden flash) of that I-consciousness of Siva which expands in the form of the entire universe. That udyama in itself is Bhairava inasmuch as Bhairava holds within Himself the entire universe by reducing all the saktis to sameness with Himself and inasmuch as He completely devours within Himself the entire mass of ideation (which is responsible for sense of difference).» — comentario de Ksemaraja al sutra I.5: el udyama es a la vez destello y Bhairava.

«It has also been said in Malinivijaya Tantra: "Absorption of the individual consciousness in the divine (samavesa) results from an awakening (pratibodhatah) imparted by the guru (spiritual director) in one who has freed his mind of all ideation". (II, 23). This samavesa is called Sambhava.» — el Malinivijaya Tantra II, 23 citado por Ksemaraja sobre el samavesa por el despertar que imparte el guru.

«Another meaning of guruna pratibodhatah has also been taught by the great teachers, viz. (guru = great; pratibodha = awakening) i.e. 'by one''s own great awakening'.» — Ksemaraja consigna la segunda lectura del mismo verso, donde el despertar es propio y no del guru; el impreso dobla la comilla en *one''s*.

«'Oh beautiful one (i.e. Parvati, consort of Siva), of the man who realizes his Bhairava nature by an apprehension of an inner emergent divine nature and is thus united with the Eternal, all the mantras become effective, being charged with power."» — el Svacchanda Tantra citado por Ksemaraja: los mantras se cargan de poder en quien realiza su naturaleza Bhairava.

«Pratibha is a technical term of this system. It means the Paravaka, the absolutely free creative divine consciousness (vide Paratrimsika, p. 102).» — nota de Singh sobre *pratibha* como la Paravak.

«Bhairava is an anacrostic word. The letter bha of this word indicates bharana or maintenance of the world, ra indicates ravana or withdrawal of the world, and va indicates vamana projection of the world. Thus Bhairava is one who brings about the srsti, sthiti and samhara of the universe.» — nota de Singh que descompone *Bhairava* en tres sílabas y tres oficios; el impreso rinde *acrostic* como *anacrostic*.

«This sutra gives in a nutshell Sambhavopaya - the Sambhava Yoga. This immersion in divine consciousness occurs to one who is a very advanced aspirant. It is a sudden flash of divine consciousness by an orientation of the will towards the inner creative consciousness which is always present within oneself. It requires no discipline of meditation, japa etc.» — exposición de Singh al sutra I.5.

«Sakticakrasatidhane visvasamharah. By union with the collective whole of saktis through intensive and fixed awareness. disappearance of the universe (as something separate from consciousness). By union with the collective whole of saktis through intensive and fixed awareness, there is the disappearance of the universe as something separate from consciousness.» — sutra I.6 con el desglose y la traducción de Singh; el impreso rinde *Sakticakrasandhane* como *Sakticakrasatidhane*.

«This Sakti though fully aware of its inner nature is outwardly engaged in activity and thus seizing the entire host of its S~aktis appears in the form of succession (krama), non-succession (i.e. simultaneity) (akrama)1, in the transcendence of both succession and simultaneity, in the form of being greatly empty (atirikta or krsa, greatly emaciated), of being not empty at all (arikta or purna - always full) or in the form of both empty and non-empty.2 Though she (Sakti) is described in the various detailed forms as above, she is not any of these forms.» — comentario de Ksemaraja al sutra I.6: la Sakti se despliega en sucesión y simultaneidad y en vacío y plenitud, y no es ninguna de esas formas. El impreso rinde *Saktis* como *S~aktis*.

«It is this Svatantrya Sakti that on her own screen (i.e. in herself) displays this play of manifestation in the form of expansion of the Sakti of emanation etc. from the earth up to rest in the highest Experient» — Ksemaraja describe la manifestación como juego que la Svatantrya Sakti despliega sobre su propia pantalla.

«Krama (succession) and akrama (simultaneity) are concepts used with reference to time. It is only our human way of speaking; the divine Sakti is above the dichotomization of the intellect.» — nota de Singh que acota krama y akrama como modos de hablar humanos.

«The idea is that though the divine creative Sakti goes on projecting things out of herself (which shows that she is perfectly full and rich), and reabsorbing them into herself (which shows that she is depleted and must take back things to make up her loss), yet in herself she transcends all these alternatives.» — nota de Singh sobre por qué la Sakti no cae en ninguna de las cuatro alternativas.

«"Then (on the occasion of visvasamhara), he (the aspirant) devours every thing (i.e. reduces to sameness with consciousness), whether it is death, or kala, the presiding Spirit of death, or the multitude of activity, network of all changes, identification with the knowledge of objects, and the multitude of thought-constructs whether it is a thought-construct of identity with the Highest or thought-construct of varied things."» — el Bhargasikha citado por Ksemaraja: en el visvasamhara se devora hasta la muerte y el propio pensamiento de identidad.

«"Observe that divine consciousness present in the body which has the glow like that of kalagni Rudra and in which all things are dissolved and the multitude of the elements is burned."» — el Viravali citado por Ksemaraja, con la imagen del kalagni Rudra.

«So, the same technique of union with Sakti by full awareness has been ascertained by another Sastric procedure.» — Ksemaraja señala que la misma técnica queda asentada por otro procedimiento de las escrituras; el tramo se corta en el reenvío de plana y sigue con la remisión al guru.

«"We bow to that Samkara from whose expansion and contraction of Sakti, the world arises and dissolves and who is the source of all the glorious might of the multitude of Saktis." (1, 1.).» — el primer verso de la Spandakarika citado por Ksemaraja.

«"When one is rooted in the one place i.e., in the spanda-tattva consisting of the perfect I-consciousness, then controlling the rise and disappearance of it (i.e., the subtle body), one acquires the status of a real enjoyer, and then becomes the master of the group of Saktis.''» — el último verso de la Spandakarika citado por Ksemaraja.

«Visvasamhara in this context does not mean pralaya or final dissolution of the universe but the disappearance of the universe as some thing separate from consciousness and its reduction to sameness with consciousness, its assimilation to consciousness itself.» — exposición de Singh que acota *visvasamhara*: no es disolución final del universo sino su reducción a la consciencia.

«Thus to the individual in whom the universe has been assimilated to the inner Siva-consciousness, there is no difference between Samadhi and vyutthana. (Samadhi means collectedness of mind in meditation and vyutthana means rising up from meditation. It is not only during samadhi that one has unity-consciousness, but also in the usual course of life).» — Ksemaraja introduce el sutra I.7: para ese individuo no hay diferencia entre samadhi y vyutthana; el paréntesis explicativo es de Singh.

«Jagratsvapnasusuptabhede turyabhogasambhavah NOTES the waking state of consciousness. the dream state of consciousness. the state of consciousness in profound sleep in which there are no ideas.» — sutra I.7 en transliteración con el desglose de los tres estados que hace Singh; el desglose sigue en la plana 106 y el devanagari no se cita.

«the fourth i.e. the fourth state of consciousness which is the witness of the other three states. rapturous experience: Lit. production, coming into existence; but abiding, remaining in this context. "Even during the three different states of consciousness in waking, dreaming and profound sleep, the rapturous experience of I-consciousness of the fourth state abides."» — continuación del desglose del sutra I.7 y su traducción, ya en la plana 106.

«Some adopt the reading Samvid in place of sambhava, the meaning of which is perfectly clear (i.e. in that case the meaning would be, there abides the experience (samvid) of the rapture of I-consciousness of the fourth state).» — Ksemaraja consigna una variante textual del sutra sin decidir entre las dos.

«Abhoga is camatkara i.e. the joyous, rapturous 1-consciousness of Siva which is present in every body in the fourth state.» — nota de Singh sobre *abhoga* como camatkara; el impreso rinde *I-consciousness* como *1-consciousness*.

«Turya = the fourth state of consciousness. It holds together the consciousness of the other three states of waking, dreaming» — nota de Singh sobre el turya; el tramo se corta en el cambio de plana y sigue en la 107.

«and profound sleep. It is the everpresent consciousness without which even the other three cannot be known as states. It is integral awareness.» — continuación de la misma nota ya en la plana 107: sin el cuarto estado los otros tres no se conocerían como estados.

«"As the moon pure like a flower shines all round and by the assemblage of its gladdening rays gladdens the world in a trice, even so, oh goddess, (addressed to Parvati), a great Yogi, when he moves about in the world, gladdens all round with the rays of his moon-like spiritual awareness the entire variegated world from avici (a particular hell) upto Siva.» — el Candrajnana citado por Ksemaraja, con el símil de la luna que alegra el mundo.

«"Even during the occurrence of different states of consciousness like waking etc. (i.e. waking, dreaming, profound sleep), that (i.e. the consciousness of the fourth state which is Siva-consciousness) continuing to be the same (tadabhinne), one never departs from one's natural state of being the knower or the experient (in all the states)."» — la Spandakarika citada por Ksemaraja sobre la permanencia del conocedor a través de los tres estados.

«The fourth state of consciousness is the everpresent witnessing consciousness of all the three. Even the three states of waking, dreaming, and profound sleep could not be experienced as three different states without a consciousness, a knower that knows all the three. That fourth state is, then, our real Self. It is the everpresent, immortal atman, the deathless, ceaseless consciousness that witnesses all that we feel, think, and do. It is the changeless permanent I that witnesses all our changing I's.» — exposición de Singh: el cuarto estado como Yo permanente que atestigua los Yo cambiantes.

«Further, each state is due to certain conditions which are not present in the other state. In the waking state, the body, prana, senses, and manas are active. In the dream state, the eye, ear, touch etc. do not work. In one word, the function of the senses stops. Their function is taken up by the mind, by imagination. In dream, we see, hear, run, eat etc. - all mentally In it only prana and manas are active.» — exposición de Singh que reparte qué facultades operan en cada estado.

«Is there then nothing that remains the same in all these differing states? There is, declares the Saiva philosophy. It is the fourth state (turya or turiya) of consciousness which is not involved in all the three states, which stands as witnessing consciousness to all the three.» — Singh plantea la pregunta y da la respuesta que atribuye a la filosofía saiva.

«It should be borne in mind that it is called the fourth with reference to the other three. The word fourth is applied to it relatively owing to the limitation of language.» — Singh acota que *cuarto* es nombre relativo y por límite del lenguaje.

«Turya consciousness always remains as the background of all we feel, think, and do, but we are unaware of it in our normal consciousness. It is always there. It is siddha i.e. eternally present, not sadhya i.e. it is not reality that can be produced by our effort, by any Yogic discipline or technique. If it were to be produced, it would no longer be eternal. It cannot be ordered about.» — exposición de Singh: el turya es siddha y no sadhya, y por eso no se produce ni se manda.

«Then why all this pother about gaining the turya consciousness? What is the value of the upayas or Yogic disciplines mentioned in the Siva-Sutras? The answer is that though it remains as the background of all we are and do, we are unaware of it. It is not a feature of our normal consciousness. The upayas are mentioned so that we may prepare ourselves for its reception.» — Singh se plantea la objeción sobre para qué sirven los upayas si el turya no se produce, y la contesta.

«In this context udyama does not mean exertion as some have unfortunately interpreted it, but as Ksemaraja points out, it means unmajjana, udyantrta - emergence.» — Singh repite por tercera vez su lectura de *udyama*, ahora en la exposición del sutra I.7.

«When we are prepared by righteous living and by deconditioning our habitual consciousness, the turya emerges from its cryptic cell, so to speak, takes possession of our normal consciousness and becomes its active feature.» — Singh describe la emergencia del turya con la figura de la celda críptica.

«(4) In the words of Kathopanisad, it is a prabhava or in the words of Siva-Sutra (7), it is a sambhava, the birth of a new awareness for ourselves. In that condition, even though states of waking, dream, and deep sleep differ, it abides as a constant active awareness in all of them. It brings about a transformation of our normal consciousness. In all the differing states, there is an integral awareness. We then live sub specie aeterniiatis.» — Singh cierra el punto con una fórmula latina; el impreso rinde *aeternitatis* como *aeterniiatis*.

«(5) Turya consciousness in Saiva philosophy is not merely prakasa, not merely Saksi caitanya, witnessing consciousness as in Samkara Vedanta, but it is also vimarsa, full of turyabhoga, i.e. of rapturous experience of the perfect consciousness of Siva.» — Singh distingue el turya saiva del testigo de la Vedanta de Sankara por la presencia del vimarsa.

«8. Jnanam Jagrat. 9. Svapno vikalpah. 10. Aviveko mayasausuptam. 8. knowledge; waking state of consciousness. "All knowledge obtained by direct contact with the external world is included (in a wide sense) in the category of the waking state of consciousness (when the subject is in contact with the objective world around him on any plane)." 9. dream state of consciousness. all ideation; all knowledge obtained by the independent activity of the mind when one is not in direct contact with the external world. "All knowledge obtained by independent activity of the mind when the Subject is not in direct contact with the external world (around him on any plane) is included in the category of svapna or dreaming state of consciousness (in a wide sense)." 10 the word aviveka has been used here in the sense of non-discernment, lack of awareness. The word maya has been used here in the sense of mohamayam (of the form of delusion). So the sutra means "Lack of awareness on any plane is the profound sleep of delusion."» — los sutras I.8, I.9 y I.10 en transliteración con el desglose y la traducción de Singh. Tramo largo releído entero en el crudo: es una sola plana continua, sin notas intercaladas.

«The waking state of consciousness is that in which knowledge of objects is produced in people by means of the external senses and the objects have a common connotation for all.» — Ksemaraja define el estado de vigilia por el objeto común a todos.

«The dream state of consciousness is that in which knowledge is produced only by the mind (without contact with the external world), which is merely a thought-construct (vikalpah) and which has an uncommon object (i.e. which is a particular kind of knowledge for each individual). It is called dream because it is characterized by such uncommon ideation.» — Ksemaraja define el sueño por el objeto no común.

«That which is a state of aviveka i.e. complete lack of awareness is delusive deep sleep. While defining susupta state, the sutra incidentally describes also the nature of Maya which is to be eliminated.» — Ksemaraja define el sueño profundo y señala que el sutra describe de paso a Maya.

«the initial undifferentiated state of knowledge characteristic of» — Ksemaraja repite los tres estados dentro de cada uno de los tres; el tramo se corta en el cambio de plana y la frase sigue en la 112.

«the dream state is the waking state; the reveries that follow constitute the dreaming state; the unawareness of any reality constitutes the state of dreamless sleep.» — continuación en la plana 112: dentro del sueño hay vigilia, ensoñación y sueño profundo.

«With reference to the Yogi, at first his knowledge in the form of dharana or fixing the mind on particular object is his waking state, then his vikalpas (reverie) in the form of a continuous flow of the idea of that object of his concentration is his dream state; (finally) Samadhi in the form of absence of difference between the thinker and the thought is his state of deep sleep. This has been shown by an appropriate application of words.» — Ksemaraja traslada los tres estados al yogui: dharana, vikalpa y samadhi. Tramo largo releído entero en el crudo.

«In deep sleep, though there is no mental activity as such, yet just when one is about to enter the state of deep sleep, there is a slightly vague awareness characteristic of the state of deep sleep which may be likened to the awareness of waking state.» — Ksemaraja detalla el umbral del sueño profundo, donde asoma una conciencia vaga comparable a la vigilia; el tramo se corta en el reenvío de plana.

«The experience of one staying in the objective consciousness is of four kinds, viz; abuddha i e. unawakened, buddha i.e. awakened, prabuddha i.e. well awakened, and suprabuddha i.e. perfectly well-awakened.» — Ksemaraja, citando al Malinivijaya, da las cuatro variedades de la experiencia objetiva.

«According to Malinivijaya, the various states of waking, dream etc. are to be ascertained with reference to the pramata, the knower or the subject. Whenever an object is known only as an external object, (prameya) i.e. when it is the objective side that is mostly prominent, we have the state of waking consciousness.» — exposición de Singh: los estados se determinan por lo que predomina en el conocedor.

«From the stand-point of the Yogi, it is an abuddha or unawakened state.» — Singh señala que el mismo estado recibe nombre distinto según quien lo mire, el común o el yogui.

«From the standpoint of the common man, all these pertain to jagrat-avastha. The Yogis call all these states as pindastha, i.e. states referring to the objective side. The jnanis (those who have complete Siva -consciousness) call this state sarvatobhadra, because according to them, the entire objective world is full of» — Singh reparte los mismos estados entre tres miradas: el hombre común, el yogui y el jnani; el tramo se corta en el cambio de plana y sigue en la 114.

«The common characteristics of the dream state are that (1) it is a plane of vikalpas i.e. ideas, fancies, reveries and that (2) it is abahya i.e. independent of the external world, confined only to the dreamer.» — Singh fija los dos rasgos del estado de sueño.

«Malinivijaya calls it gatagata, because in this state the movement of prana and apana is very prominent on account of which the dreamworld appears to be very clear.» — Singh explica el nombre *gatagata* por el movimiento de prana y apana El impreso parte *dream-world* al fin de renglón y la extracción lo devuelve unido.

«When during the entire phantasmagoria of his dream state, the dreamer does not lose hold of his self-consciousness, when he is fully aware of himself and knows that he is only dreaming, then this state is known as svapna-turya. This is also called susamahita state, because in this state the dreamer is a fully integrated individual.» — Singh describe el svapna-turya, donde el soñador sabe que sueña.

«The Yogi includes all these four states in one blanket term, called padastha, because by means of yoga, he abides in the pada or state of his own Self in all these conditions. Gatagata, suviksipta, samgata and susamahita are only phases of the padastha state.» — Singh explica el término *padastha* del yogui.

«The word vipula means thick, increased. This state is called vipula, because in this state the residual traces of the experience of the objective world are fostered so that they become stronger.» — Singh explica el nombre *vipula* del segundo tramo del sueño profundo.

«Briefly it may be said that the waking state is that in which the aspect of the known or the objective experience is prominent, the dream state is that in which knowledge or mentation is prominent, and susupti or dreamless state is that in which the knower or the subject aspect is prominent.» — Singh resume los tres estados por lo que predomina en cada uno.

«The turya-jagrat is that state in which mind as we know it retires completely. Its function ceases and the Super-mind becomes active. This is called manonmana. In this state, the activity of the normal mind stops, and unmand or Super-mind supervenes.» — Singh describe el turya-jagrat como retirada de la mente y entrada del manonmana; el impreso rinde *unmana* como *unmand*.

«Turya-svapna is that state in which the Yogi crosses the boundary of limitation (of knowledge) and enters the region of unlirnitedness (of knowledge). Hence in the tantras, it is called ananta, i.e. unlimited.» — Singh describe el turya-svapna; el impreso rinde *unlimitedness* como *unlirnitedness*.

«There is no such phase as turya-turya. In turya state, the aspirant is identified with Siva-consciousness. The common man simply calls it the turya or fourth state, because it is beyond the three known states of waking, dream, and deep sleep. He has no experience of the turya state.» — Singh consigna la ausencia de un turya-turya y el nombre que el hombre común da al cuarto estado.

«Tritayabhokta viresah triad; enjoyer; master of the senses. Being an enjoyer of the rapture of I-consciousness in the triad (of waking, dreaming and deep sleep), he is verily the master of his senses.» — sutra I.11 con el desglose y la traducción de Singh.

«"He who (as witnessing consciousness) knows both what is said to be the object of experience and the subject of experience in all the three states is not tainted (with the condition of these) even while he is aware of both the subject and the object."» — verso citado por Ksemaraja en el comentario al sutra I.11 sobre el testigo que no se tiñe.

«One who is not of this sort becomes an object of enjoyment of the forces of the waking and other states, and remains simply the usual empirical subject. Even a yogi who has not risen up along this stream cannot be the master of his senses; he will remain only a confounded being.» — Ksemaraja niega el dominio de los sentidos al yogui que no ha subido por esa corriente.

«Viranam: of the senses. When the senses function ordinarily in common life, they are merely vrttis i.e. modes of acquiring objective (in the case of the outer senses) and subjective (in the case of the manas) experience. When, however, the subject consciously acquires the experience of the fourth state, then his senses become saktis i.e. divine powers intent on abolishing all sense of difference. They are not merely indriyas, but viras now. The experient now becomes their master. He uses them for the higher purpose of life, and is no longer used by them.» — nota de Singh: los sentidos pasan de vrttis a saktis y el experimentador se vuelve su dueño.

«Mahamnayas: Saiva Philosophy has been expounded from three standpoints viz. (l) from the predominantly abheda or non-difference point of view. The sastras of this stand-point are» — nota de Singh que reparte las escrituras saivas en tres grupos según su punto de vista: Bhairava sastras (abheda), Rudra Sastras (bhedabheda) y, ya en el reenvío de plana, Siva Sastras (bheda).

«this standpoint are known as Siva Sastras. They are 10 in number.» — cierre de la misma nota tras el reenvío de plana: los diez Siva Sastras del punto de vista de la diferencia.

«Manthana Bhairava - one who churns the objective experience, withdraws it in himself and then again brings it forth, one who has svatantrya-absolute freedom of knowing and doing everything.» — nota de Singh sobre el Manthana Bhairava.

«"The Yogi3 functioning freely by means of svacchanda yoga is united with the status of Svacchanda4 and acquires equality with Svacchanda."» — el Svacchanda Sastra VII, 260 citado por Ksemaraja.

«"The consciousness of the Highest Self abides in the Suprabuddha (perfectly well-awakened person) in all the three states of waking, dream, and deep sleep without any interruption."» — la Spandakarika I, 17 citada por Ksemaraja.

«Bhaskara in his Varttika interprets tritaya as the three gunas, but as tritaya comes immediately after jagrat, svapna and susupti, it is better to interpret it as three states of consciousness as Ksemaraja has done.» — Singh consigna la lectura distinta de Bhaskara para *tritaya* y declara su preferencia con una razón de orden textual.

«In the experience of that great yogi, are there certain stations closely connected with his ascent to Reality through which a high position in the tattvas (i.e. the 36 creative principles) may be marked. There are, says the present sutra» — Ksemaraja introduce el sutra I.12 por la pregunta de si hay estaciones en el ascenso.

«Vismayo Yogabhumikah. fascinating wonder. the stations and stages of yoga. The stations and stages of yoga constitute a fascinating wonder.» — sutra I.12 con el desglose y la traducción de Singh.

«As a person is struck with wonder by seeing something extraordinary, even so there is a pleasant surprise for the great yogi who notices in mute wonder an expansion (in the power) of his entire complex of senses, as they come fully under the influence of the inner Self which is a mass of consciousness and full of unique, pre-eminent and ever-new delight of I-consciousness which blossoms forth in the experience of the various objects of perception. The yogi has this experience in himself that is full of uninterrupted joy - a joy with which he never feels satiated.» — comentario de Ksemaraja al sutra I.12 traducido por Singh. Tramo largo releído entero en el crudo.

«These are definite stations indicative of the repose of the yogi in the higher consciousness during the powers of his ascent to the Highest Reality, not experiences which one may notice in muladhara1 or the psychic centre2 between the eye-brows.» — Ksemaraja separa esas estaciones de las experiencias en el muladhara o el entrecejo.

«"When aspirants realize the Self by themselves, then the Self experiences a pleasant surprise within itself."» — el Kulayukti citado por Ksemaraja.

«The author means to say that the experience in these centres is inferior to the experience of the full-blown I-consciousness of Siva.» — nota de Singh que jerarquiza las experiencias de los centros por debajo de la I-consciencia.

«Iccha saktir uma kumari. Will power Light or splendour of Siva. ma, meaning Laksmi and 'u' meaning Siva i.e. splendour of Siva). unwedded maiden; virgin. The Will-power of the yogi who is in communion with Siva is Uma (splendour of Siva) who is Kumari.» — sutra I.13 con el desglose etimológico de *Uma* y la traducción de Singh.

«Or Ku may mean the state of Maya which brings about a sense of difference, and mari may mean one who destroys i.e. one who does not allow the power of Maya to spread. So Kumari is one whose nature is of this sort. Kumari (virgin) is one who remains always in the state of bhoktri or enjoyer (bhoktraikatmyenasphuranti), never a bhogya i.e. never to be enjoyed by others (parairanupabhogya).» — segunda lectura de Ksemaraja al sutra I.13, desde el bhedabheda: *Kumari* como la que no deja extenderse a Maya y nunca es objeto de goce ajeno.

«Or as virgin Uma abandoning all attachment was always engaged in her devotion which may bring about her union with lord Siva, even so is the will of this yogi. My revered teacher found this reading also and interpreted it in this way also. This reading would be (Yoginah) Iccha Kumari Umasaktih.» — tercera lectura de Ksemaraja al sutra I.13, desde el bheda, con una variante de lectura que atribuye a su maestro.

«Others adopt the reading (Iccha Saktitama Kumari)1 and thus interpret the sutra as pointing out the superiority of Will over cognition and conation. Thus the desire of such a yogi is not coarse like that of the common folk, but it is like parasakti itself, unimpeded everywhere.» — Ksemaraja consigna una cuarta lectura, con otra variante del texto del sutra; la nota de Singh la adjudica a Bhaskara.

«"That highest Divine Sakti abides in all the goddesses in different names and forms, remains concealed by the yogamaya2, is a virgin, and fulfils the desire of all people (X, Verse 727).» — el Svacchanda Tantra X, 727 citado por Ksemaraja.

«In Mrtyunjaya3 also, it has been said, "That Highest Sakti is only my Will power, inseparable from me. She should be considered as natural to me. She is to be known (in the same relation to me), as heat to the fire and rays to the sun. That Sakti is the cause of the entire world."» — el Mrtyunjaya citado por Ksemaraja, con los símiles del calor en el fuego y los rayos en el sol.

«"A person cannot become the impeller of the goad of desire by himself. It is only by contact with the power residing in the Self that he can be like that Self."» — la Spandakarika I, 8 citada por Ksemaraja.

«Bhaskara adopts this reading in his Varttika.» — nota de Singh que adjudica a Bhaskara la variante *Iccha Saktitama Kumari*.

«Ksemaraja interprets this Sutra from three standpoints. From the standpoint of (1) abheda (non-difference) he interprets Iccha (of the great Yogi) as identical (abhinna) with the svatantrya sakti of Siva, and Kumari as that svatantrya sakti engaged in the play of bringing about the manifestation and withdrawal of the universe. This explanation is in accordance with Sambhavopaya. From the standpoint of (2) bhedabheda, he shows that the Iccha is designated as Kumari, because the consciousness of difference (bheda) brought about by Maya (ku) is destroyed by her (man). So this shows the abheda of Iccha with Siva in the midst of the difference brought about by Maya. This explanation is in accordance with Saktopaya. From the standpoint of bheda, he shows that just as Kumari Uma was always intent on being united with Siva, so the Iccha of the Yogi is always intent on being united with Siva. This explanation is in accordance with anavopaya.» — exposición de Singh que ordena las tres lecturas de Ksemaraja y las hace corresponder con los tres upayas. (cita larga, releída entera en el crudo: pasa de 700 caracteres)

«In the concluding portion of his commentary on this sutra, Ksemaraja shows his preference for its interpretation from the abheda standpoint.» — Singh señala cuál de las tres lecturas prefiere Ksemaraja al cerrar.

«Drsyam Sariram. all phenomena outer or inner.» — sutra I.14 en transliteración con el arranque del desglose de Singh; el tramo se corta en el cambio de plana y la traducción entera sigue en la 126.

«[are like his own) body. All objective phenomena outer or inner are like his own body.» — continuación del sutra I.14 ya en la plana 126, con la traducción de Singh; el impreso abre con corchete y cierra con paréntesis.

«"Whatever is perceptible whether inwardly or outwardly, all that appears to this Yogi like his own body, i.e. identical with himself and not as something different from him. This is so because of his great accomplishment (of identity with the Universal consciousness). His feeling is 'I am this', just as the feeling of Sadasiva with regard to the entire universe is 'I am this'.» — primera lectura de Ksemaraja al sutra I.14, con la fórmula de Sadasiva.

«To the Yogi, the body appears as an objective perceptible phenomenon like blue etc, and not like a perceiver as in the case of the ignorant empirical beings, whether that body is in the form of delta or the physical body (as in waking consciousness), or in the form of dhi or the mind (as in dream) or prana (as in deep sleep) or as sunya ox mere void (as in the case of the sunyapramdta).» — segunda lectura de Ksemaraja, que invierte el compuesto; el impreso rinde *deha* como *delta*, *or* como *ox* y *pramata* como *pramdta*, y *sunya-pramata*, partido al fin de renglón, sale unido.

«So, in the body and in everything external, his awareness is one of undifferentiated consciousness as the plasma of the peacock's egg is undifferentiated plasma.» — Ksemaraja usa el símil del plasma del huevo del pavo real para la conciencia indiferenciada.

«"Just as waves are modes of water, sparks of fire, light of the sun, even so the various modes of the universe have gone out of me, viz., Bhairava."» — el Vijnanabhairava, verso 110, citado por Ksemaraja.

«Hrdaye cittasamghattad drsyasvapadarsanam. on the core of consciousness; 'by meeting or union of the mind; there is the appearance of an observable phenomena and even a state of void as a form of consciousness. "When the mind is united to the core of consciousness, every observable phenomenon and even the void appear as a form of consciousness".» — sutra I.15 con el desglose y la traducción de Singh.

«The individual mind intently entering into the universal light of foundational consciousness sees the entire universe as saturated with that consciousness.» — Ksemaraja resume el sutra I.15.

«"He whose mind together with the other senses is merged in the ether of the heart, who has entered mentally into the centre of the two bowls of the heart-lotus3, who has excluded everything else from consciousness acquires the highest fortune, O beautiful» — el Vijnanabhairava, verso 49, citado por Ksemaraja; el tramo se corta en el reenvío de plana.

«"He who has realized his identity with the Highest Reality pervading the two aspects (adhva) (of Varna, pada, and mantra, and kala, tattva and bhuvana) manifest in the unconscious entities like the unmoving ones and conscious beings like the moving ones abides as identical with Bhairava in all beings, objects, tattvas like earth etc. and the senses." (IV, verse 310).» — el Svacchanda Tantra IV, 310 citado por Ksemaraja.

«The 15th Sutra says that the above is not merely a metaphysical chimera. If the individual mind is united with the Central, foundational consciousness, if the citta (the individual mind) is brought into communion with Cit (the Universal consciousness) which is the core of Reality, one can find for oneself that the objective world is only an expression of that Consciousness. Then the consciousness of the individual is steeped in the universal consciousness and the sense of difference disappears.» — exposición de Singh al sutra I.15: la unión del citta con el Cit se comprueba, no se supone.

«Suddha-tattva-sandhanad va apasusaktih. or. the Pure Principle i.e. the Highest Siva. by constant awareness. be becomes like one in whom the binding power existing in the limited self is absent.» — sutra I.16 con el desglose y la traducción de Singh; el impreso rinde *he* como *be* en el desglose.

«Suddha tattva means Parama Siva or the Highest Siva, the Absolute Principle, when in that (i.e. Pure Principle of Siva or Absolute Consciousness), he (i.e. the aspirant) becomes aware of the universe as that itself i.e. as Siva, then he becomes the lord of the world like Sadasiva, and like him becomes a-pasusakti i.e. one in whom the binding power designated by pasu (pasvakhya bandhasakti) is absent (avidyamana).» — comentario de Ksemaraja al sutra I.16.

«"O goddess, all the religious disciplines together with joyful exclamations of praise which are prescribed for the success of initiation are not worth even the sixteenth part of that awareness which is centred on you."» — el Laksmikaularnava citado por Ksemaraja: la conciencia centrada vale más que toda la disciplina de la iniciación.

«"One should consider the entire body or the entire world simultaneously without thought-construct as a form of cons» — el Vijnana-bhairava, verso 63, citado por Ksemaraja; el tramo se corta en el cambio de plana y sigue en la 132.

«"He who knows thus (i.e. it is the experient himself who appears in the form of the object of experience), and regards the whole world as play (of the Divine), being ever united (with the universal consciousness) is, without doubt, liberated even while alive."» — la Spandakarika II, 5 citada por Ksemaraja: quien ve el mundo como juego divino se libera en vida.

«The Varttika of Bhaskara splits this sutra into two different ones, viz., Suddha-tattva-sandhanat va (16) and svapada-saktih (17). The first means "By intensive awareness of the pure principle i.e. Siva, one acquires Siva-consciousness." The second means "Svapada=Siva; his Sakti is jnana and kriya". The first refers to Siva-caitanya; the second refers to Sakticaitanya. There is no special point in splitting the 16th sutra into two different ones.» — nota de Singh que consigna la división del sutra I.16 en dos que hace Bhaskara y declara su desacuerdo. El compuesto *Sakti-caitanya* va partido al fin de renglón y la extracción pierde el guion.

«Vitarka atmajnanam. unwavering awareness. knowledge of Self.» — sutra I.17 con el desglose de Singh; el tramo se corta en el cambio de plana y la nota aclaratoria sigue en la 133.

«Note: Vitarka in this context does not mean deliberation which is merely thought-construct, but unwavering awareness, an awareness with full conviction "unwavering awareness (that I am Siva) constitutes the knowledge of Self."» — nota de Singh al sutra I.17, ya en la plana 133: *vitarka* es conciencia sin vacilación y no deliberación.

«"The Highest Lord is omniscient, omnipotent and omnipresent. As I have the characteristic of Siva, I am that very Siva. With this strong conviction, one becomes Siva Himself."» — el Vijnana-bhairava, verso 102, citado por Ksemaraja.

«The realization of oneself as Siva is the acquisition of ambrosia. This is verily the veritable seizure of the Self. This constitutes the diksa2 for Nirvana and this confers on one self the realization of one's identity with Siva." (11, 7).» — la Spandakarika II, 7 citada por Ksemaraja, con la diksa para el Nirvana.

«Diksa: svarupasambodhadanatmako bhedamayabandha-ksapanalaksanasca sarhskaravisesah (Ramakantha) i.e. diksa is a particular consecration ceremony for initiation into the higher life, conferring on the initiate the gift of knowing oneself, and casting away the impurity due to the sense of difference that binds oneself.» — nota de Singh que traduce la definición de diksa que da Ramakantha.

«Nirvana: nirvanam nirvrtir-dvaitapratyayalaksanaksobhapariksayad atyantiki prasantih samvidah svasvabhavavyavasthitih (Ramakantha) i.e. Nirvana is beatitude which means absolute peace resulting from the destruciton of the mental disturbance caused by harbouring belief in dualism; it is the establishment of consciousness in its natural state.» — nota de Singh con la definición de nirvana de Ramakantha; el impreso rinde *destruction* como *destruciton*.

«The 16th Sutra teaches that the objective world is in essence Siva; the 17th teaches that the Subject is also Siva.» — exposición de Singh que reparte los dos sutras entre objeto y sujeto.

«This is to be realized not by tarka or logical reasoning, not by vikalpa or thought-construct, but by vitarka or an awareness in which all tarka has disappeared by an indomitable, irresistible conviction of the Self being Siva.» — Singh separa vitarka de tarka y de vikalpa.

«The delight that the yogi feels in abiding in his nature as the knower in respect of both the subject and object in the world, is his delight of samadhi".» — traducción del sutra I.18 por Singh.

«Note: - The word samadhi in this context does not mean absorption or trance. It means maintaining continuous awareness of knowership.» — nota de Singh que acota *samadhi* en este sutra: no es trance.

«"The word loka has to be construed in two senses: (1) that which is perceived i.e. the multitude of objects, (2) he who perceives i.e. the class of subjects. Though this distinction of sub» — comentario de Ksemaraja al sutra I.18, con los dos sentidos de *loka*; el tramo se corta en el cambio de plana.

«ject and object is evident in the world, the yogi experiences a unique delight of I-consciousness which results from his mindfulness of his repose in the state of a knower in every case. This is his samadhi-sukha1 i.e. this is his delight of continuous awareness of knowership.» — continuación del comentario ya en la plana 136: el yogui reposa en su condición de conocedor.

«"The consciousness of object and subject is common to all the embodied ones. The Yogis have, however, this distinction that they are mindful of this relation."» — el Vijnanabhattaraka, verso 106, citado por Ksemaraja.

«"One should regard the whole world or his own body as full of the delight inherent in his Self. Simultaneously (with this world-view), he will find himself full of the highest delight which is simply due to the ambrosia (i.e. the spiritual delight) welling up in his Self."» — el mismo libro, verso 65, citado por Ksemaraja.

«"Moreover, the delight of knowership which the yogi experiences by continuous repose and delight within himself ends in making his delight manifest among those people also who carefully observe him in that state (tat tadrsam). This happens by the process of transmission of delight.» — segunda lectura de Ksemaraja al sutra I.18, invirtiendo el compuesto: el deleite del yogui se transmite a quienes lo observan.

«Vijnanabhattaraka is the same as Vijnanabhairava. The word bhattaraka is a term of respect.» — nota de Singh que identifica los dos títulos.

«The verse means to say that for all embodied beings, there is always subject-object relationship in every bit of knowledge, but the common man is only mindful of the object, not of the subject. The yogi, however, is always mindful of the relation of the object to the subject without which relation the object could not be known at all.» — nota de Singh que separa al común, atento al objeto, del yogui, atento a la relación.

«The Self is not only cit (consciousness), but cidananda (consciousness-bliss). The surface-view of things denotes distress, disharmony, but there is wonderful harmony at the heart of the universe. That harmony, delight, bliss is the characteristic of consciousness which forms the warp and woof of the universe. The yogi who can penetrate beneath the surface and realize the underlying bliss will always be full of the highest delight, for his own Self is nothing but that blissful consciousness.» — nota de Singh sobre la armonía que atribuye al fondo del universo bajo la superficie de la desarmonía.

«The present sutra says that it is not necessary for the aspirant to lock himself up in a room and plunge into trance in order to realize the delight of Self. He can find this delight in the ordinary, normal course of life if he is mindful of the subject-object relation which is involved in every bit of knowledge.» — exposición de Singh al sutra I.18: el deleite no pide encierro ni trance.

«Further, this delight is not confined to the Yogi. He radiates it all round among the people who care to observe him in that state. His delight is infectious.» — Singh cierra el sutra I.18 con el contagio del deleite.

«Saktisandhane Sarirotpattih On being united with (Iccha) Sakti with one-pointedness. (there can be) creation of body. (According to the Yogi's desire). When with one-pointedness the yogi is fully united with Iccha Sakti, then he can acquire the power of creating any kind of body according to his desire."» — sutra I.19 con el desglose y la traducción de Singh; el tramo cruza el reenvío de plana.

«When the Yogi is united with the Will Power indicated in the 13th Sutra i.e. when he is firmly and completely at-one-ment with that (dardhyena tanmayibhavati), then through it, he can bring into being (any kind of) body according to his desire.» — comentario de Ksemaraja al sutra I.19.

«"She (i.e. Para sakti) is the source (yoni) of all the gods, and of all the Saktis. She is of the nature of agni and soma1. Every thing proceeds from her."» — el Mrtyunjaya bhattaraka citado por Ksemaraja sobre la Para sakti como yoni de todos los dioses.

«The above translation is according to the interpretation of Ksemaraja. Svami Laksmana joo interprets Yoni in the sense of indispensable means. Through her the devas (gods) realize their non-difference from Siva (Sambhavopaya). Through her the Saktis acquire spiritual realization by means of Saktopaya, and it is through her that empirical beings realize their spiritual goal by anavopaya.» — nota al pie de Singh que consigna la lectura distinta de Svami Laksmana Joo para *yoni*, como medio indispensable, repartida entre los tres upayas.

«"Without sandhana (union with intensity and fixedness of awareness), no initiation ceremony is effective, nor can there be successful completion of supernormal powers, nor can mantra, nor any stratagem of mantra succeed nor application of yoga."» — el Laksmikaularnava citado por Ksemaraja: sin sandhana no sirven ni la iniciación ni el mantra.

«Agni and Soma - literally fire and moon do not mean the obvious fire and moon that we see every day. Agni and soma are symbolic terms. Agni symbolizes the prana sakti and soma symbolizes the apana sakti. The prana and apana saktis are associated with the prana and apana breaths. Prana is the breath of expiration and apana is the breath of inspiration.» — nota de Singh que declara simbólicos a agni y soma y los reparte entre prana y apana.

«Soma-surya (moon and s u n ) : Here again these are symbolic words. Moon or soma symbolizes the apana sakti and sun or surya symbolizes the prana sakti. This is so in connexion with anavopaya. In connexion with Saktopaya, soma or moon symbolizes jhana sakti (knowledge) and surya or sun symbolizes Kriyasakti (activity). In connexion with Sambhavopaya, soma symbolizes Vimarsa and surya symbolizes prakasa.» — nota de Singh que da tres lecturas del par luna-sol, una por upaya; el OCR espacia las letras de *sun*.

«Quoting a verse from Spandakarika, Ksemaraja describes how he can do so. In his waking condition, he has to pray to the Divine for the accomplishment of a certain desired object. Afterwards when he goes into samadhi (complete mental absorption), his prana and apana functions stop, but when he rises from the Samadhi and is in the waking condition again, the functions of his prana and apana are re-established, and he finds that his desired object has been fulfilled by the Divine Power to which he prayed and with which he was united. If the Yogi wants to experience certain supernormal objects in dream, that again is fulfilled by the Divine Power with which he is in contact.» — exposición de Singh que describe el mecanismo del sutra I.19 por la plegaria y el samadhi.

«Bhutasandhana-bhutaprthaktva- visvasamghattah. existent entities; putting together or joining; putting together or joining the components of existents; Disjoining or separating the components of existents; assembling, collecting, joining, uniting; everything; all; the power of uniting, bringing together every thing (removed by space and time). The other supernormal powers of the yogi are: (1) The power of joining or putting together elements or parts in all existents» — sutra I.20 con el desglose de Singh; el tramo se corta en el cambio de plana y la traducción se completa en la 142.

«i.e. synthetical power; (2) the power of separating elements of existents i.e. analytical power and (3) the power of bringing together everything (removed by space and time).» — cierre de la traducción del sutra I.20 ya en la plana 142, con los tres poderes.

«Bhuta means all existents like body, prana, objects etc. Sandhana means their addition or putting together for promoting growth etc. So bhutasamdhana means the power of joining elements of existence for augmentation or promotion of growth in some cases. Bhutaprthaktva means the power of separating of elements from body etc. for curing physical ailments, etc. Visvasanghattdh means the power of bringing together all (visva) things removed by space and time, etc. by making them objects of his own knowledge.» — comentario de Ksemaraja al sutra I.20, con el uso curativo del poder de separar.

«"Just as even a weak person proceeds to do his work by taking hold of that power (of spanda)1, so even he who is exceedingly hungry can subdue his hunger..,2 (111, 6).» — la Spandakarika III, 6 citada por Ksemaraja.

«"Just as a thief carries away the valuables of the house, even so depression saps away the vitality of the body. This depression proceeds from ignorance. If that ignorance disappears by unmesa3, how can that depression last in the absence of its cause.» — la Spandakarika III, 8 citada por Ksemaraja, con el símil del ladrón.

«When, however, he does not desire simply limited powers, but wants to acquire the form of universal Consciousness, there accrues to him.» — Ksemaraja introduce el sutra I.21 por el cambio de deseo del yogui.

«Suddhavidyodayaccakresatva-siddhih. through the appearance of Suddhavidya; full acquisition of mastery over the collective whole of the Saktis. "Full acquisition of mastery over the collective whole of the Saktis through the appearance of Suddhavidya."» — sutra I.21 con el desglose y la traducción de Singh.

«When he (the yogi) unites his consciousness with Sakti through intensive awareness with a desire to gain universal consciousness, then through the appearance of Suddhavidya, he succeeds in acquiring the supreme power of Siva in the form of complete mastery over His universal collective whole of saktis.» — comentario de Ksemaraja al sutra I.21.

«"Therefore, as there is no other Vidya (power of supreme knowledge) like her, she is the highest vidya. In this (i.e. on the appearance of this vidya) the yogi acquires the greatest qualities like omniscience, etc. all at once. She is designated Vidya, because she brings about investigation of the beginningless characteristic of Siva, viz; Svatantrya Sakti, because she brings about the knowledge of the Highest Self and because she dispels all that is not that Highest Self. Established in that (i.e. the Unmana state), one can manifest the highest light3, the highest cause. If one is established in that manifest highest Light, he can attain to the state of Siva."» — el Svacchanda Tantra IV, 396-397 citado por Ksemaraja sobre la vidya más alta.

«"When the Yogi desirous of seeing stands fixed (in concentration) covering all objects with the light of his consciousness, (then he will experience the entire objective world in one sweep in himself), then what is the use of talking much, he will have the experience (of universal knowership) for himself."» — la Spandakarika III, 11 citada por Ksemaraja.

«Suddhavidya - This Suddha vidya is not the Suddha Vidya tattva which is above the Maya tattva. Suddha vidya in thiscontext means that supreme consciousness in which every thing appears as Self. It is the unmana avastha.» — nota de Singh que separa esta *suddha vidya* del tattva del mismo nombre; el impreso parte *this-context* al fin de renglón, con un guion que no es léxico, y la extracción devuelve *thiscontext*.

«14th to 20th sutras describe limited supernormal powers acquired by the yogi who is united with Ichha Sakti. The 21st sutra describes the power of universal consciousness or cosmic consciousness acquired by the Yogi. After acquiring this power, the Yogi realizes the entire universe as his Self in one sweep, not in bits.» — exposición de Singh que separa los poderes limitados de la conciencia cósmica.

«In sutra 14, it has been shown that the Yogi feels his identity with every object. His consciousness is of the form 'Ahmidam' or 'I am this' with regard to every object separately. The 21st Sutra says that when the Yogi acquires universal consciousness, his consciousness is of the form» — Singh contrapone las dos fórmulas del yogui; el tramo se corta en el reenvío de plana y la segunda, *Ahameva Sarvam*, queda del otro lado. El impreso rinde *Ahamidam* como *Ahmidam*.

«"By uniting with the great lake (the infinite reservoir of Divine Power), (he has) the experience of the Supreme I-consciousness which is the generative source (virya) of all mantras."» — traducción del sutra I.22 por Singh, que cierra la primera sección.

«The most venerable supreme Consciousness (para-samvit)1 positing Ichha Sakti as the primary Sakti, projecting the universe (from the most subtle) upto gross objects, is a great lake. It is so-called, because it sets in motion the entire group of khecari2 and other currents, because it is limpid (inasmuch as it reflects the entire universe in it), because it is not shrouded (i.e. though it reflects the universe, the universe is unable to cast a pall over it), because it is deep (inasmuch as it is not easily understandable).» — comentario de Ksemaraja al sutra I.22, que desglosa el símil del gran lago en cuatro razones.

«"She is the Sakti of the creator of the world and is said to be in constant and intimate union with Him, and becomes, O goddess, Iccha (desire) of that lord desirous to create" (III, 5)» — el Malinivijaya III, 5 citado por Ksemaraja.

«Thus the highest Sakti herself is the great lake. Therefore, it has been rightly said that by uniting the mind with her, the Yogi has the experience of the potency of the mantra of the nature of Matrka and Malini.» — Ksemaraja identifica el gran lago con la Sakti más alta.

«"The mantras resorting to that power of Spanda (by identifying themselves with that power) proceed to perform their respective functions even as the senses of the embodied ones do."» — la Spandakarika II, 1 citada por Ksemaraja.

«Khecari cakra and other currents - The group of powercurrents referred to here are - Khecari, gocari, dikcari and bhucari. Khecari is connected with the pramata, the experient; gocari is connected with his antahkarana or the inner psychic apparatus; dikcari is connected with the bahiskarana i.e. the outer senses; bhucari is connected with the bhavas, existents or the outer objects.» — nota de Singh que reparte las cuatro corrientes de sakti por su esfera; el impreso parte *power-currents* al fin de renglón y la extracción lo devuelve unido.

«The sakti cakras indicate the processes of the objectificatioii of the universal consciousness. By Khecarl Cakra, one is reduced from the position of an all-knowing consciousness to that of a limited experient; by gocari cakra, he becomes endowed with an inner psychic apparatus; by dikcari cakra, he is endowed with outer senses; by bhucarl cakra, be becomes confined to bhavas or external objects.» — nota de Singh sobre cómo cada cakra de sakti reduce la conciencia; el impreso rinde *objectification* como *objectificatioii* y *he* como *be*.

«Khecarl is one that moves in kha or akasa. Kha or akasa is here a symbol of consciousness. This Sakti is called Khecari, because her sphere is kha or consciousness.» — nota de Singh que deriva el nombre de Khecari de kha, símbolo de la conciencia.

«The etymology of Malini is "malate, visvam antah dhatte" i.e. Malini is one who holds the universe within herself.» — nota de Singh con la etimología de Malini.

«This first section has been designated as the display of Sambhavopaya1, for the acquisition of Bhairava-consciousness which, as has been already described (in Sutra 5), is sudden emergence of the Supreme I-consciousness, which sets at naught all bondage (anava, mayiya and karma) which is of the nature of ignorance brought about by the absolute freedom of consciousness (the characteristic of atma expounded in Sutra 1) which makes the universe full of ambrosia through its own bliss, and which secures all the supernormal powers right up to one's establishment into that mantra1 of Supreme I-consciousness which is the generative source of all other mantras.» — Ksemaraja cierra la primera sección declarando qué es lo que ha desplegado.

«Here ends the first Section of the Vimarsini Commentary on the Siva Sutras pertaining to Sambhavopaya by K$emaraja dependent on the lotus feet of the glorious Abhinavagupta, the best among the venerable great Saiva teachers.» — colofón de la primera sección de la Vimarsini, donde Ksemaraja se declara discípulo de Abhinavagupta; el impreso rinde *Ksemaraja* como *K$emaraja*.

«Sambhavopaya: upaya = means of spiritual realization. Sambhavopaya connotes the means of spiritual realization of which the source is Sambhu (Siva) Himself and which hasbeen handed down by Him.» — nota de Singh que remonta el nombre del Sambhavopaya a Sambhu como fuente.

«Cittam mantrah. in this context means that by which the Highest Reality is cognised. a formula consisting of a word or a set of words addressed to a deity. In this context, mantra means that mental awareness by which one feels one's identity with the Highest Reality enshrined in a mantra and thus saves oneself from a sense of separateness and difference. "By intensive awareness of one's identity with the Highest Reality enshrined in a mantra and thus becoming identical with that Reality the mind itself becomes mantra."» — sutra II.1 con el desglose y la traducción de Singh.

«Citta is that which ponders over the Highest Reality. In other words, it is consciousness that ponders over prasada,2 pranava3 and other mantras which constitute the essential characteristic of the perfect I-consciousness. That by which one deliberates secretly i.e. ponders inwardly as being non-different from the Highest Lord is Mantra.4 Thus that citta itself (tadeva) is mantra.» — comentario de Ksemaraja al sutra II.1.

«The mind of the devotee intent on intensive awareness of the deity inherent in the mantra acquires identity with that deity and thus becomes that mantra itself. It is this mind itself which is mantra, not a mere conglomeration of various letters.» — Ksemaraja niega que el mantra sea un conglomerado de letras.

«"Those are not really mantras which are only a matter of enunciation. Elated with the pride of false knowledge, even devas and Gandharvas are deluded in this matter." (Verse 16-17).» — el Sarvajnanottara, versos 16-17, citado por Ksemaraja.

«"If the practiser of the mantra is different from the mantra, then his mantra will never be successful. Knowledge (of the divine I-consciousness) alone is the root of all this. Without it, a mantra will never be successful".» — la Srikanthi-Samhita citada por Ksemaraja.

«"Not knowable as objective existents (niranjanah)7 and full of peace (santarupah)8 they (i.e. the mantras) together with the mind of their devoted practisers get absorbed in that very Spanda.9 Therefore, mantras have the characteristic of Siva10» — la Spandakarika II, 2 citada por Ksemaraja; las llamadas de nota van pegadas a la palabra en el impreso.

«Prasada is a technical word of this system which will not be found in any dictionary. It is the name of the mantra sauh» — nota de Singh que declara ausente de los diccionarios el término *prasada* y lo identifica con el mantra sauh.

«This mantra is known as hrdayabija the heart-seed of Siva. He who can enter into the spirit of this mantra will be identified with the Supreme I-consciousness and will be liberated.» — nota de Singh sobre el mantra hrdaya-bija; el desglose que la precede va en devanagari y la capa de texto solo deja los conectores en inglés, que el impreso parte al fin de renglón y la extracción devuelve como *hrdayabija*.

«Pranava is the mystic sacred syllable. According to Saivagama, there are four kinds of pranava, (1) the Saiva Pranava which is (2) the Sakta pranava which is (3) the maya pranava which is and (4) the Vedic pranava which is The pranava referred to in this sutra is the Saiva-pranava.» — nota de Singh con las cuatro clases de pranava según el Saivagama; las cuatro sílabas van en devanagari y no se citan.

«Mananat trayate iti mantra h i.e. mantra is that which by pondering over the Supreme I-consciousness protects or saves one from transmigratory existence.» — nota de Singh con la etimología del mantra a partir de *man* y *trai*; el impreso parte *mantrah* como *mantra h*.

«Niranjanah - According to Abhinavagupta, this means na anjyante prakatikriyante (prameya-rupena) iti niranjanah - those which can never be known as objects are niranjanah. The mantras are full of I-consciousness; therefore they are always subjects and can never be reduced to the category of objects.» — nota de Singh que trae la lectura de Abhinavagupta para *niranjanah*.

«Siva-dharminah or have the characteristic of Siva means that the mantras are endowed with the qualities of Siva like omniscience, etc.» — nota de Singh sobre *Siva-dharminah*.

«What is that which ponders over the central significance of every mantra? It is Citta. But it is not any and every China. It is the Citta (the individual mind) that is oriented towards the Divine, that is intent on seeking its own source. This citta itself is mantra.» — exposición de Singh al sutra II.1: no cualquier citta sino el orientado a su fuente; el impreso rinde *citta* como *China* en una ocurrencia.

«The key of Saktopaya is jnana. Therefore it is also called jnanopaya.» — Singh nombra la clave del Saktopaya.

«Prayatnah Sadhakah. zealous and spontaneous close application. effective in fulfilment. "Zealous and spontaneous close application is effective in fulfilment.» — sutra II.2 con el desglose y la traducción de Singh.

«Prayatna means the natural or spontaneous close application in firmly taking hold of the initial emergence of the desire for quest of the spirit of the mantra. It is this close application which becomes effective in fulfilment i.e. in bringing about identity of the conternplator of the mantra with the deity inherent in it.» — comentario de Ksemaraja al sutra II.2; el impreso rinde *contemplator* como *conternplator*.

«"As a kite in the sky seeing a piece of meat, flying back with a spring draws it immediately towards itself with natural onset, O dear one, even so the great yogi should draw forth his mind to the light of the Self.» — el Tantrasadbhava citado por Ksemaraja, con el símil del milano y la carne.

«As an arrow placed on a bow runs after its target, if the bow is stretched with intensive effort, even so, O fair one, the knowledge of the Self expands through intensive awareness."» — continuación de la misma cita del Tantrasadbhava, con el símil del arco.

«"Apprehension of the Self constitutes the real being of the mantra."» — verso que Ksemaraja cita sin nombrar fuente.

«"The appearance, in the mind of the contemplator of the deity contemplated on (really) means this - that the aspirant realizes his identity with the nature of the deity contemplated on in the mantra with intence desire (icchatah)2 (i.e. with a mind free of thought-construct)" (11,6).» — la Spandakarika II, 6 citada por Ksemaraja; el impreso rinde *intense* como *intence*.

«Uccara in this context does not mean utterance or pronunciation. Uccara literally means ut + cara, moving up, rising. It is in this etymological sense that the word has been used here. It means the movement of the mind upwards i.e. towards the light of the supreme I-consciousness.» — nota de Singh que acota *uccara* como movimiento hacia arriba y no como pronunciación.

«Vidyasarira-satta mantrarahasyam. the knowledge of the highest non-dualism. svarupa or essence. being i.e. the luminous being of the perfect I-consciousness which is non-different from the world. the secret of mantra. "The luminous being of the perfect I-consciousness inherent in the multitude of words whose essence consists in the knowledge of the highest non-dualism is the secret of mantra."» — sutra II.3 con el desglose y la traducción de Singh.

«Vidya means knowledge of the highest non-dualism, 'Sarira' means svanipa i.e. own form, essence. Vidya-sarira means that multitude of words whose essence consists in vidya i.e. the knowledge of highest non-dualism: Satta means being i.e. the luminous being of the perfect I-consciousness which is non-different from the entire cosmos.» — comentario de Ksemaraja al sutra II.3; el impreso rinde *svarupa* como *svanipa*.

«"O dear one, all mantras consist of letters. The letters are a form of sakti. That sakti should be known as matrka. Matrka should be known as the very form of Siva."» — el Tantrasadbhava citado por Ksemaraja, que iguala Matrka y Siva.

«"People do not know their spiritual director as full of divine power nor the established practices described in the scriptures. They are intent upon hypocrisy and crookedness, indulge in sense-pleasure and are devoid of practical performance. On account of this, O goddess, the potency (of the mantras) has been concealed by me. On account of this concealment, they are concealed. What remain consist only of letters",» — el Tantrasadbhava citado por Ksemaraja da la razón declarada del ocultamiento: la conducta de la gente. Las letras quedan, la potencia no.

«That Sakti who is described as supreme and subtle, and beyond the pale of religious practices (like worship, meditation etc.);» — el Tantrasadbhava presenta a la Sakti fuera del alcance de las prácticas religiosas; el tramo se corta en el cambio de plana y sigue en la 161 con la imagen de la serpiente enroscada.

«enclosing within herself the central vindu2 sleeps coiled up in the form of a snake. O illustrious Uma; sleeping there, she is thoroughly incognizant.3 Having cast within her womb the moon, fire, the sun, the stars and the fourteen worlds4 she appears as if senseless owing to poison.» — continuación del Tantrasadbhava ya en la plana 161: la Sakti dormida como serpiente, con los mundos en su vientre.

«Then, O fair one, she gets awakened with the throb (ninadena)5 of the highest knowledge, being churned by the vindu (Siva's virile drop of light) present in her womb.» — el Tantrasadbhava describe el despertar de la Sakti por el batido del vindu.

«The Sakti that passes into the middle of the two vindus (viz. of Siva and Sakti) is known as Jyestha. Being agitated by that vindu, the straight line is known as amrta kundali. She is known as rekhini7 (one of straight line) at the ends of which are the two vindus. She is known as Tripatha8 (having three tracks) and is named Raudri. She is also known as Rodhini,9 because she stands as a bar to the path to liberation.» — el Tantrasadbhava nombra a Jyestha, a Rekhini, a Raudri y a Rodhini por su figura y su oficio.

«Thus Para-sakti10 which is only one appears in three ways. Through these Saktis11 by various sorts of conjunction and disjunction, all the nine classes of letters are produced. She (Para sakti or Paravak) characterized by nine classes12 of letters is known in nine ways. O goddess, she pervades the five mantras13 like Sadyojata etc. successively. Therefore, O leadress of all the gods, she is described in five ways. She appears in the twelve vowels14, therefore is she said to be existing in twelve. From 'a' to 'ksa', she exists in fifty varieties.» — el Tantrasadbhava deriva las nueve clases de letras de las tres saktis.

«In the front of the tongue, there is successful production of letters. There is no doubt about this. In this way is the production of words. All existents moving and unmoving, are pervaded by words."» — cierre de la cita del Tantrasadbhava: todo lo existente está impregnado de palabras.

«By all these statements the particular chapter in Tantrasadbhava intends to show that Matrka is a manifestation of Paravak who is only a sakti of the highest Bhairava. Therefore as it has been said that all letters come into being because of the varieties brought about by the conjunction of the extension of Jyestha, Raudri and Amba saktis, it is the Supreme I-consciousness (vidyasarira-satta), as already explained, which is the secret of all the mantras which are embodied in the conjunction of letters.» — Ksemaraja saca la conclusión de la cita larga: la Matrka es manifestación de la Paravak.

«As the Siva-sutras are a sort of compendium of the essentials of the occult Agamas, therefore have I undertaken all this labour to show their agreement with the Agamas. So none need criticise me (for being prolix). If even in spite of all the agreement with the Agamas that I have shown, the occult meaning is not understood, one should betake oneself to the reverential service of a good spiritual director.» — Ksemaraja justifica la extensión de su comentario y remite al guru para lo que quede oscuro.

«Vindu - This is the integral virile creative drop of light of consciousness.» — nota de Singh sobre el vindu.

«Ninada is not sound in this context, but the throb of consciousness, the germinal emergence of the universe to be manifested.» — nota de Singh que acota *ninada* como estremecimiento y no como sonido.

«Rodhini is the dividing line between phenomena and noumena. On the lower side of this dividing line is asuddhadhva, the empirical manifestation; on the other or higher side of that line is the Suddhddhva, the metempirical manifestation. Rodhini acts as a bar between the two.» — nota de Singh que sitúa a Rodhini como línea divisoria entre los dos órdenes.

«Parasakti or Paravak is Kundalini Sakti. She is the central creative power of the entire Matrka of all the subjective and objective phenomena. Broadly, she expresses herself in three ways, Pasyanti, Madhyama and Vaikhari.» — nota de Singh que identifica la Parasakti con la Kundalini y da sus tres formas.

«Pasyanti is that where the word and the object are identical. The division between word and object has not yet arisen. In this, there is only the light of consciousness. Therefore, this is the stage of vision, and that is why this sakti is known as pasyanti. She consists of one anu. She is said to be existing in the heart.» — nota de Singh sobre la pasyanti, donde palabra y objeto son uno.

«In the Madhyama stage, though the division between the word and object has started, it is not fully pronounced yet. Madhyama occupies an intermediate stage between Pasyanti and Vaikhari. That is why she is called Madhyama. She is of two anus and resides in the throat. In the Vaikhari stage, the object is completely separated from the word. The word Vikhara means body. The body is the seat of gross speech. Therefore, gross speech is known as Vaikhari. She is said to exist in the root of the tongue and consists of three anus.» — nota de Singh sobre madhyama y vaikhari, con su sede corporal y su número de anus.

«"That by which one recognises one's identity with Siva" is what is meant by mantra. It is not the letters which constitute mantra, but the realization of oneself as identical with the deity invoked in the mantra and finally with the supreme I-consciousness which is the core of all mantras.» — exposición de Singh al sutra II.1: el mantra no son las letras.

«The purpose of mantra is to make the mind God-oriented. Indeed such a mind itself is mantra.» — Singh fija el fin del mantra; el impreso parte *God-oriented* al fin de renglón.

«This Para-sakti is the sakti-kundalini which goes into cosmic sleep after the dissolution of the manifested world. Then there is churning process between Siva and Sakti; in consequence the first letter 'a'» — exposición de Singh que resume la cita larga del Tantrasadbhava: el sueño cósmico de la kundalini y el batido entre Siva y Sakti.

«So the letters of the mantra are not merely dead symbols, they point to the I-consciousness of Siva which is their origin. It is, therefore to this I-consciousness that the mind should be directed in each mantra.» — Singh niega que las letras del mantra sean símbolos muertos.

«Those to whom the potency of this kind of mantra which is a means to the mental union with the afore-said great lake does not appeal through God's will, but rather whose heart is set on» — Ksemaraja introduce el sutra II.4 por el aspirante que se conforma con poderes menores; el tramo se corta en el cambio de plana y sigue en la 166.

«unimportant secondary limited powers like vindu or light nada or sound etc. which are produced by sakti, to them then accrues.» — continuación ya en la plana 166: los poderes secundarios que produce la sakti.

«Garbhe Cittavikaso 'visistavidyasvapnah in the mayic powers; satisfaction of mind; common, inferior knowledge confusing like a dream "(To them accrues) Mental satisfaction in mayic, limited powers which are only a form of common inferior knowledge confusing like a dream."» — sutra II.4 con el desglose y la traducción de Singh.

«Garbhah means primal ignorance, mahamaya. In that i.e. in mayic limited powers. Cittasya vikasah means satisfaction in the limited phenomenal powers. This is merely common kind of knowledge i.e. limited inferior, impure knowledge. This is mere dream i.e.» — comentario de Ksemaraja al sutra II.4; el tramo se corta en el cambio de plana.

«confusion full of strange fancies based on a sense of difference.» — cierre del mismo comentario ya en la plana 167.

«"They (i.e. the supernormal powers) are obstacles in Samadhi (contemplative absorption); on coming back to the normal consciousness, they are powers." (111,37).» — el Yogasutra de Patanjali III, 37 citado por Ksemaraja: los poderes son obstáculo en el samadhi.

«"From this (i.e. unmesa) there appears in a short time vindu i.e. light (between the eye-brows), nada i.e. unstruck sound of various kinds, rupa, i.e. different kinds of forms even in darkness, rasa, i.e. pleasant taste in the mouth even in the absence of any thing edible. To the Yogi whose sense of identification with the body has not yet disappeared, these (supernormal experiences) act at once only as disturbance (in his progress of» — la Spandakarika III, 10 citada por Ksemaraja, con la lista de fenómenos que estorban.

«Bhaskara has given this sutra differently in his Varttika. He reads it thus - He interprets it thus - Garbhe i.e. in the bliss of the light of Supreme consciousness. When the mind is turned towards this light, then there is the highest development of the mind i.e. the mind is full of bliss. This being so, there is disappearance (svapnah i.e. disappearance like a dream) of avidya or primal ignorance.» — Singh consigna la lectura opuesta de Bhaskara para el sutra II.4, que lo vuelve afirmación en vez de advertencia.

«Vidyasamutthane Svabhavike Khecari Sivavastha. on the emergence of Supreme knowledge; natural, spontaneous; moving in the vast expanse of consciousness; Siva's state. "On the emergence of spontaneous supreme knowledge, occurs that state of movement in the vast unlimited expanse of consciousness which is Siva's state i.e. the Supreme State of Reality."» — sutra II.5 con el desglose y la traducción de Singh; el tramo cruza el cambio de plana.

«This Khecari is not of the usual sort which is merely a disposition of certain parts of the body in a particular form as described in the following verse:» — Ksemaraja separa la Khecari del sutra de la que es mera disposición del cuerpo.

«"A Yogi should be seated in a Padmasana posture erect like a stick and should then fix his mind (lit. the chief of the senses) on the navel and should lead the mind upto khatraya or the three saktis situated in the space in the head. Holding the mind in that state, he should move it forward immediately with the above. Disposed in this psycho-physical posture the great Yogi acquires the supernormal power of moving (flying) in the sky.» — el verso de la Khecari corporal que Ksemaraja cita para descartarla como sentido del sutra.

«Only when his consciousness moves in all beings, only then is it genuine Khecari.'"» — el Tantrasadbhava citado por Ksemaraja: la Khecari verdadera es la conciencia que se mueve en todos los seres.

«Thus Khecari as defined in Tantrasadbhava is the highest form of consciousness. Accordingly in this Yoga, it is only the emergence of the essential nature of the divine consciousness by setting at naught all disturbances caused by maya that has the nature of creating difference. It is this alone which constitutes the potency of mantras and the potency of mudra.» — Ksemaraja iguala Khecari a la emergencia de la naturaleza divina.

«"There is only one seed-mantra (of Supreme I-consciousness) which pervades the entire manifestation; there is only one» — el Kulacudamani citado por Ksemaraja sobre el único bija; el tramo se corta en el cambio de plana y sigue en la 170 con la única mudra, Khecari.

«mudra, viz, Khecari which pertains to highest Bhairava. He in whom these two appear is established in that state which transcends the merely immobile condition (i.e. he is established in Spanda which is the creative pulsation").» — continuación de la cita del Kulacudamani ya en la plana 170.

«Khecari: This literally means that which moves in the sky or empty space. Kha or empty space is a symbol of consciousness. One of the meanings of Khecara is Siva. Khecari mudra, therefore, means a mudra pertaining to Siva or Sivavastha as the above sutra puts it.» — nota de Singh sobre *khecari* y *kha* como símbolo de la conciencia.

«Saiva agama does not set any store by mudra in the sense of disposition of certain parts of the physical body. It interprets mudra in a higher sense in three ways, viz. (1) mudam (harsam) rati (dadati) - that which gives muda or joy, (2) mum dravayati - that which dissolves mu or bondage (3) mudrayati iti - that which seals up (the universe into turiya).» — nota de Singh con las tres etimologías de *mudra* que da el Saiva agama.

«That which enables living beings to acquire Self-realization in all the states of the embodied ones is Mudra. By dehadvarena» — el verso de Abhinavagupta sobre la mudra que Singh traduce en nota; el tramo se corta en el cambio de plana.

«Khatrayam - Lit, it means the triad of space or void. The triad referred to is Sakti, Vyapini, and Samana, extending from the middle of the eyebrows up to Brahmarandhra.» — nota de Singh sobre el khatraya.

«Gururupayah. the spiritual director means. "The Guru who has attained Self-realization can alone help the aspirant in acquiring it."» — sutra II.6 con el desglose y la traducción de Singh.

«Guru is one who teaches the essential Truth. So he is the means for leading one to the attainment of the potency of mantra and mudra.» — comentario de Ksemaraja al sutra II.6.

«"One, who knows all the principles in their essentials, being able to throw light on the virility or efficiency of mantras, is a guru like myself."» — el Malinivijaya II, 10 citado por Ksemaraja, con Siva hablando a Parvati.

«"I offer my homage to that wonderful teaching of my guru, serving as a boat in crossing the fathomless ocean of doubts and full of such words as express wonderful, uncommon ideas."» — el último verso de la Spandakarika citado por Ksemaraja, con el símil de la barca.

«Or guru may be said to be the power of divine grace. As has been said in Malinivijaya "That (the power of grace) has been said to be the collective whole of saktis, that has been said to be the mouth of the guru, i.e. the guru's power of grace."» — segunda lectura de Ksemaraja para *guru*: la gracia misma, según el Malinivijaya.

«"Guru's power of grace inherent in the mouth of the guru is» — el Mantrisirobhairava citado por Ksemaraja pone la gracia por encima del guru mismo; el tramo se corta en el reenvío de plana y la frase se cierra al otro lado con *greater than the guru himself*.

«Matrkacakrasambodhah. the group of letters; enlightenment." "(From a pleased guru) accrues enlightenment regarding the group of letters."» — sutra II.7 con el desglose y la traducción de Singh; el impreso deja *enlightenment."* con comilla suelta.

«According to the process described in Paratrimsaka etc. the first aspect (spanda) of anuttarasakti is the Supreme I-Consciousness which assumes the form of akula1 i.e. that of which the body (kula) is 'a' (the letter ). (This 'a' is the expression of Cit-sakti of Siva).» — comentario de Ksemaraja al sutra II.7: la deducción de las letras a partir de la anuttara sakti.

«Just as in the flash of lightning there is at first merely a faint glimmer, and then there is more bright light,» — el símil del relámpago con que Ksemaraja explica el paso de una vocal a otra.

«The letters 'r' and 'l' are only implicitly heard sounds (they are not actually produced letters).» — Ksemaraja acota que dos de las vocales solo se oyen implícitamente.

«they are said to be amrta (imperishable) letters (i.e. they are not subject to any change; they do not give rise to other letters).» — Ksemaraja llama amrta a esas cuatro letras por no engendrar otras.

«These four arc therefore, designated eunuch vowels4.» — Ksemaraja da el nombre técnico de esas cuatro vocales; el impreso rinde *are* como *arc* y la llamada de nota va pegada.

«In the formation of the letter there is the union of all the three saktis viz, iccha, jnana and kriya with the predominance of kriya in its clearest form.» — Ksemaraja reúne las tres saktis en una sola letra, con predominio de kriya.

«They are known as dharana in the agama scriptures (amnayesu), because they hold the universe by seizing the consciousness of the subjects (knowers).» — Ksemaraja explica el nombre *dharana* de cuatro consonantes.

«Therefore the essence of the supreme virility of the great mantra in the form of the Supreme I-consciousness consists in showing by means of pratydhdra18 that the universe lies in the womb of 'a' and 'ha' (aham or I) which are symbolic of anuttara (a) and anahata (ha) or in other words of Siva and Sakti19.» — Ksemaraja cierra la deducción: el universo cabe entre *a* y *ha*, es decir en *aham*.

«"The I-concept connotes resting of the light of consciousness within itself. Inasmuch as it excludes all (external) expectancy, it is known as Repose (within itself) or Composure. It is also absolute freedom, main doership and sovereign power."» — Utpaladeva citado por Ksemaraja, que lo llama su bisabuelo espiritual.

«Matrka-cakra means the collective whole (cakra) of the previously described anuttara, ananda, iccha and other saktis connected with the Matrka the efficacy of which has been described in the scriptures in the following words "There is no knowledge higher than that of Matrka."» — Ksemaraja define el *matrka-cakra* y cierra con una sentencia de las escrituras.

«It has been expressed in detail by my teacher (Abhinavagupta) in his commentary on Paratrinisaka, Tantraloka etc.» — Ksemaraja remite a su maestro Abhinavagupta para el detalle; el impreso rinde *Paratrimsaka* como *Paratrinisaka*.

«"That divine consciousness in its form as creative energy is known as Kundalinl.» — el Siddhamrta citado por Ksemaraja: la energía creadora es la Kundalini.

«That visarga is manifested in five ways, one outside (in the form of the expansion of the universe), and four inside (1) in the heart (2) in nada i.e. in the throat (3) in the great stage (parame pade) i.e. between the two eye-brows and (4) in Brahrnarandhra Thus it pervades from the heart up to the top of the skull.» — el Siddhamrta reparte el visarga en cinco sedes; el impreso rinde *Brahmarandhra* como *Brahrnarandhra*.

«Mantras devoid of the initial letter 'a' and the final letter 'ma' (i.e. (aham) or I) are like autumnal clouds (i.e. just as autumnal clouds do not rain and so are useless, even so such mantras are useless).» — el Siddhamrta niega eficacia a los mantras sin *a* ni *ma*, con el símil de las nubes de otoño.

«The essential characteristic of a real spiritual director is that he should explain (to his disciples) the mantra beginning with 'a' and ending with 'ma' (aham). That sage, Bhairava-like, godlike guru deserves worship like myself» — el Siddhamrta define al guru verdadero por lo que enseña; el impreso parte *god-like* al fin de renglón y la extracción lo devuelve unido.

«As he (the guru) feels even a hymn of praise (sloka) or a laudatory song (gatha) or any thing else as connected with the Supreme I-consciousness, therefore, knowing everything in that way (i.e. as connected with I-consciousness), he perceives everything as a mantra.» — el Siddhamrta: para ese guru todo es mantra.

«"That operative energy of Siva (i.e. the divine spanda) existing in the limited experient (i.e. the empirical individual) binds the individual (when unrealized).» — la Spandakarika III, 16 citada por Ksemaraja: la misma energía ata o libera; el tramo se corta en el cambio de plana.

«forming a path to Siva who is one's own Self, it secures supreme» — continuación de la Spandakarika III, 16 ya en la plana 179.

«Akula: Kula is the state in which Siva and Sakti remain in indistinguishable unity. Akula is a state different from it i.e. it is a state of Siva. This is one meaning of akula, Secondly, kula means body. . Akula means that of which the body is the letter 'a\(which is the expression of Cit-Sakti). So there is a double entendre in the word akula. It is impossible to bring this out in the translation.» — nota de Singh que consigna un doble sentido de *akula* y declara que no se puede trasladar al inglés.

«Aksubdha and Ksubdha: Aksubdha (lit, unagitated) is the state in which Iccha Sakti has simply decided to manifest externally, but is still unaffected by objectivity. Ksubdha (i.e. agitated) is the state when Iccha Sakti is coloured by objectivity.» — nota de Singh que separa los dos estados de la iccha sakti.

«They are said to be Sandha or eunuch, because they are neither purely vowels nor purely consonants; they have a semblance of both, just as a eunuch has the semlance of both male and female. Secondly they are called eunuch because they are unable to produce any other letter.» — nota de Singh con las dos razones del nombre; el impreso rinde *semblance* como *semlance* en la segunda ocurrencia.

«The idea is that the dot or vindu indicates that in spite of all these projections or emanations in the form of a, a, i. i, etc. the anuttarasakti remains the highest knower or subject. The Sanskrit word vindu means both 'dot' and knower. Vetti iti vinduh i.e. Vindu means one who knows.» — nota de Singh sobre el doble sentido de *vindu*, punto y conocedor.

«The two dots of visarga (:) indicate the truth that from the point of view of Sakti symbolized by the lower dot there is an expansion of an outer world, but at the same time from the point of view of Siva symbolized by the upper dot, the entire universe rests in the 1-Consciousness of Siva.» — nota de Singh que reparte los dos puntos del visarga entre Sakti y Siva; el impreso rinde *I-Consciousness* como *1-Consciousness*.

«A doubt may arise as to how from each Sakti, say from only one 'a' of anuttara, there arises a group of five letters, viz, ka, kha, ga, gha, ha, similarly how from 'i' of iccha, there arises a group of five letters, viz, ca, cha, ja, jha, na and so on. To remove this doubt, Ksemaraja says that each of these i.e. 'a' of» — nota de Singh que plantea la objeción sobre el paso de una sakti a cinco letras; el tramo se corta en el cambio de plana.

«Antahstha varnas are ya, ra, la, va. Ksemaraja thinks that they are known as antahstha because they are determined by maya and her Kancukas (coverings) which operate from within the mind of man.» — nota de Singh con la razón de Ksemaraja para el nombre *antahstha*.

«Abhinavagupta, however, says in Tantraloka 3rd Ahnika, (verses 154 to 156) that when ksubdha and aksubdha Iccha sakti is oriented towards anuttara (which is cit), then it produces 'ya'. When which is identified with Iccha sakti is oriented towards anuttara, then ra appears, and when which is identified with Iccha Sakti is oriented towards anuttara then la appears. Similarly when unmesa is oriented towards anuttara, va appears.» — nota de Singh que trae la derivación distinta de Abhinavagupta para las mismas cuatro letras.

«The Siksa works, however, call them antahstha, because they lie in between vowel and consonant i.e. they are neither purely vowel nor purely consonant.» — nota de Singh con una tercera razón, la de los tratados de fonética, para el mismo nombre.

«According to Saiva Philosophy, the manifestation of the universe by Siva is not a derognation from His essential» — nota de Singh: la manifestación no rebaja a Siva sino que lo cumple; el impreso rinde *derogation* como *derognation* y el tramo se corta en el cambio de plana.

«Sadadhva: The universe may be said summarily to consist of varna, mantra and paaa on the vacaka or the subjective side and (1) kala (2) tattva (3) and bhuvana on the vacya or objective side. Sat means six and adhva means course or path.» — nota de Singh que desglosa el sadadhva en seis; el impreso rinde *pada* como *paa*.

«No one (deliberately) pronounces it, nor can any body prevent its being sounded (as an inner vibration). This is self -sounded in the breast of beings. It is spontaneous, ceaseless sound going on inside without utterance, without effort on the part of any one. Hence it is called anahatamaya i.e. not struck or uttered by the vocal organs.» — verso que Jayaratha cita y Singh traduce en nota, sobre el sonido no golpeado.

«Pratyahara: This word has been used here in the technical sense of Sanskrit Grammar. It means the 'comprehension of several letters or affixes into one syllable, effected by combining the first letter of a sutra with the final indicatory letter'.» — nota de Singh que toma *pratyahara* en su sentido gramatical.

«In the definite calm of anuttara or Highest Reality, there arises a metaphysical Point of Stress. This is known as vindu. In this, the universe to be is gathered up into a Point. This vindu is ghanibhuta sakti, the creative force compacted into a Point. It is as yet undifferentiated into subjects and objects. It is the cidghana or massive consciousness in which lie potentially in an undifferentiated mass all the worlds and beings to be manifested.» — nota de Singh sobre el vindu como punto de tensión metafísica.

«Vindu means that which knows. It is derived from the root 'vid' which means 'to know'. Vetti iti vinduh. Vindu is that which knows. That is why Abhinavagupta calls it avibhagah prakaso yah. Avibhagah prakaso yah sa vinduh paramo hi nah (1. Ill A, verse III). "That which is undivided light, that which in spite of all differentiation does not change, remains unaffected and does not deviate from its inherent oneness is for us Vindu."» — nota de Singh con la etimología de *vindu* y el verso de Abhinavagupta.

«Kutabija - The word kuta means highest, most excellent, mysterious. Kutabija is a mystical name of the letter ksa . Kuta is a technical name for a letter which results from the combination of two halanta letters. Here the two halanta letters are 'k' and 's' . Their combination results in ksa . , Therefore 'ksa' is called a Kuta letter.» — nota de Singh sobre el kutabija.

«In the unmanifest state, Kundalini is bija i.e. the seed of all manifestation; in the manifest state she is jiva i.e. the life of all. The word Kundalini means the divine creative Energy - Visarga-Sakti of Siva's I-consciousness. It is coiled in three and a half folds. One fold represents the objective aspect (prameya) of the Supreme I-Consciousness, another fold represents the pramana or knowledge aspect, the third fold represents the pramata or the subjective aspect; the remaining half represents prama aspect which contains within itself both the subjective and the objective aspect in indistinguishable unity.» — nota de Singh que reparte los tres pliegues y medio de la Kundalini entre prameya, pramana, pramata y prama.

«When the para-sakti (the Highest creative Sakti of Siva) though creative, is not yet functioning but lies like a sleeping serpent coiled in three and a half folds, she is known as Sakti Kundalini. When she is oriented externally to manifest life, she is known as Prana Kundalini. At this stage, Samvit or consciousness is transferred into prana or life. This Prana Kundalini is present in every living being. In the reverse movement back from life to consciousness when she assumes her original form of consciousness, she is known as Para Kundalini. At this stage, there is the delightful unity-consciousness of I and the world, of Self and not-Self. Everything appears as a form of T.» — nota de Singh con los tres estados de la Kundalini; el impreso rinde la *I* final como *T*.

«Visarga: It literally means emanation, manifestation, projection. The verse says: In this context visarga means visarga sakti, the projecting manifesting, creative energy of the Divine, the supreme Creative energy of anuttara (the Highest Reality).» — nota de Singh sobre el visarga como energía proyectiva.

«The lower dot of : denotes the expansion of the creative energy into the universe, indicating a difference from Siva; the upper dot points to the identity of the universe with Siva. Hence it is parapara.» — nota de Singh que reparte los dos puntos del parapara-visarga.

«It only refers to the manifestation of the universe without making any reference to its source.» — nota de Singh sobre el visarga inferior o anava.

«Manifestation consists of vacaka and vacya or nama and rupa, words and objects. At the highest level of Reality they are one. In manifestation, they bifurcate into vacaka and vacya. In manifestation, the vacaka is the subjective side and the vacya is the objective side.» — exposición de Singh: en lo más alto palabra y objeto son uno y en la manifestación se bifurcan.

«So long as the mystery of the matrka is not understood, we are only involved in the 'fret and fever' of life. "We nod and hurry and pass by, and do not for once possess our soul." If a man wants to understand the mystery of life, if he wants to turn to the source of his being, he will have to understand the mystery of Matrka.» — Singh mete en su exposición dos frases inglesas sin nombrar su procedencia, la de la *fret and fever* y la de asentir y pasar de largo sin poseer el alma.

«The Sutra tells us that all letters are only an expression of Paravak or Parasakti or Parahanta or Anuttara sakti - the Cosmic Creative Stress, the Spanda or pulsation of Supreme Creative Consciousness known as Siva, This Creative Power of Siva in its cosmic aspect is also known as Sakti Kundalini.» — exposición de Singh al sutra II.7.

«"A ) resides in all the letters as their inner controller."» — Jayaratha citado por Singh en la exposición: la primera vocal reside en todas las letras.

«Niskala or Parama Siva is the transcendent Siva, above all manifestation: Siva is His first creative pulsation in whom arises I-Consciousness-(aham). This aham or I-consciousness known as vimarsa is like a mirror of rays of light which contains all the varnas or letters (vacakas) and vacya (objects) in a latent, incipient form just as the plasma of a peacock's egg contains the variegated plumage of the peacock in a latent form.» — Singh repite el símil del huevo del pavo real para el aham como espejo que contiene letras y objetos.

«A knowledge of the Matrka cakra shows how all letters and all tattvas from earth upto Sadasiva have evolved simultaneously from aham. The collective whole of saktis (cakra) of Matrka pertains to iccha, jnana and kriya saktis of Siva which evolve the world of words and objects.» — Singh resume qué muestra el conocimiento del matrka cakra.

«The sambodha or clear realization of the significance of Matrka cakra leads the aspirant to realize that his real I is the blissful I-consciousness of Siva. This real I-consciousness is the secret of mantra. It liberates the aspirant from his pseudo I-consciousness, from his psycho-somatic self, and he now knows himself as identical both with Siva and His manifestation in the form of the universe.» — Singh cierra el sutra II.7 con el efecto de esa realización.

«Sariram havih body; oblation. "(Of such a person) the body becomes an oblation (to be poured into the fire of the highest consciousness).» — sutra II.8 con el desglose y la traducción de Singh; el tramo cruza el cambio de plana.

«Of that great Yogi, all this gross, subtle and causal body which is affected with the idea of knower or I becomes an oblation to be offered to the highest consciousness-fire. Because of the annulment of the idea of the body being the Self, he is constantly steeped in the idea of pure consciousness only being his Self.» — comentario de Ksemaraja al sutra II.8: el cuerpo entero se vuelve oblación.

«"One should pour into the fire of the Highest Consciousness all the elements, senses, and the objects of sense together with mind (that creates all these divisions). This is real homa (oblation). The (Self-inquiring) consciousness is the ladle (with which this oblation is to be performed)."» — el Vijnana-bhairava, verso 149, citado por Ksemaraja, con el cucharón del sacrificio.

«"By the extinction of attachment in one who is dear, who is a friend, who is a relation, a donor, or who is greatly beloved, the Sakti of cidakasa rises higher."» — el Timirodghata citado por Ksemaraja.

«"In the deep fire of yoga pertaining to self-control lighted with clear perception of reality do the yogis offer as oblation all the activities of the senses, and prana."» — la Bhagavadgita IV, 27 citada por Ksemaraja; el tramo cruza el cambio de plana.

«Here Ksobha means the idea of the body etc as the Self. This is how Bhatta Kallata has explained it in his commentary.» — Ksemaraja adjudica a Bhatta Kallata la lectura de *ksobha*.

«Jnanam annam. limited knowledge which is the cause of bondage; food to be devoured. "The limited, vitiated knowledge which is the cause of bondage is the food to be devoured."» — sutra II.9 con el desglose y la traducción de Singh.

«"When he (the yogi) realizes his real Self, then he devours death, (death of the gross body), kala - the presiding Spirit of death, the multitude of activities, all changes for the worse, identification with the knowledge of objects, all thought-constructs of non-difference, and difference."» — el Bhargasikha citado por Ksemaraja en el sutra II.9.

«(The Sutra may be explained in another way) or his knowledge of the realization of Self is food inasmuch as by affording full satisfaction it becomes the means of rest in one's own Self.» — segunda lectura de Ksemaraja al sutra II.9: el conocimiento del Sí mismo como alimento que sacia.

«"By adopting any one of the means for Self-realization, the sense of fulfilment that occurs from day to day is, in this matter, a satisfaction denoting highest perfection."» — el Vijnanabhairava, verso 148, citado por Ksemaraja; el impreso rinde el título como *Vijnanabliairava*.

«The word yukti or means indicates here the knowledge of hundred and twelve kinds of yoga.» — Ksemaraja remite a los ciento doce yogas del Vijnanabhairava.

«In the first interpretation, he takes jnana in the sense of 'limited knowledge', and annam in the sense of 'being devoured' and says that all» — exposición de Singh sobre la primera de las dos lecturas del sutra II.9; el tramo se corta en el cambio de plana. El arranque *Ksemaraja interprets this sutra in two ways* se repite en la plana 126 para otro sutra, así que el ancla va más adelante.

«In the second interpretation, he takes jnanam in the sense of svarupa-jnana (knowledge of Self), and annam in the sense of 'food that gives satisfaction' and interprets the sutra as saying that Self-knowledge is the food that gives highest satisfaction.» — exposición de Singh sobre la segunda lectura, ya en la plana 191.

«Bhaskara in his Varttika interprets jnana as svarupa-jnana (knowledge of Self), and so his interpretation of this satra agrees with the second interpretation given above.» — Singh alinea a Bhaskara con la segunda lectura; el impreso rinde *sutra* como *satra*.

«Vidyasamhare taduttha-svapna-darsanam. on the submergence of Suddha vidya - there is appearance of thought-construct arising from it.» — sutra II.10 con el desglose de Singh; el tramo se corta en el cambio de plana y la traducción sigue en la 192.

«Bhaskara, in his Varttika, interprets this sutra differently. According to Ksemaraja, Vidya here means suddha vidya, but according to Bhaskara, vidya here means knowledge, common to the ordinary folk of the world. So Bhaskara interprets the sutra thus: "When the knowledge common to the ordinary folk of the world dissolves (on the realization of one's true Self) then the previously apprehended delusive knowledge of the objects of the world is remembered only like a dream."» — Singh consigna la lectura de Bhaskara para el sutra II.10, que cambia el sentido de *vidya*.

«"This is instructed by Sankara (in the form of a guru) when he is fully pleased. But even when somehow the instruction is imparted, the impression of such knowledge does not remain."» — el Malini-vijaya citado por Ksemaraja sobre lo que no se retiene de la instrucción.

«Beginning with the above, Malinivijaya says further, "Even when one has obtained merely limited powers (vasanamatra labhe-pi) but is not mindful, tempters who put obstacles in the progress of yoga egg him on to transient pleasures."» — el Malinivijaya sobre los tentadores que desvían al yogui descuidado.

«Thus the second section beginning with the sutra: Cittam mantrah, and showing that in Saktopaya, the main emphasis is on the intensive awareness of the transforming power of mantra and mudra, gives a clear conception of saktopaya, according to the agama scriptures in the following verse of Malini-vijaya.» — Ksemaraja cierra la segunda sección declarando su asunto.

«Atma Ciltam. the individual Self. mind "The individual Self is mind (constituted by buddhi, aham, and manas)."» — sutra III.1 con el desglose y la traducción de Singh; el impreso rinde *Cittam* como *Ciltam*.

«Citta or mind is that which coloured with the desire for sense-objects is always engaged in the activity of their ascertainment,» — comentario de Ksemaraja al sutra III.1: el citta como mente teñida de deseo; el tramo se corta en el cambio de plana.

«appropriation to self and thought-construct. These activities are carried on respectively by buddhi, ahamkara and manas. It is these that constitute citta It is this citta which is the individual atma or anu. It is called atma, because the word atman is derived from the root at which means to move constantly'. Atati iti atmd - that which moves on constantly is atma.» — continuación del comentario ya en la plana 196, con la etimología de atma como lo que se mueve.

«Really speaking, there is no wandering of atma which is purely consciousness. Therefore in the first Sutra of the first section, viz., 'Caitanyam Atma' i.e. atma is consciousness', atma has been, at first, so defined with the intention of expounding its inherent, essential nature. Now, however, the definition is being given mainly from the standpoint of its appearance in» — Ksemaraja concilia la definición del sutra I.1 con la del III.1 por el punto de vista; el tramo se corta en el reenvío de plana.

«Anu: minute, atomic, a mere point, The universal consciousness limits itself to a Point. Hence the individual self is known as anu.» — nota de Singh sobre *anu* como punto.

«Sattva: is prakasa, visibility or manifestation. This is predominantly the attribute of buddhi; rajas is cancalya - unsteadiness. This is predominantly the attribute of manas; tamas is avarana covering, concealing. This is the attribute of ahamkara inasmuch as it conceals the nature of the real Self. Therefore the statement that atma dings to sattva, rajas and tamas signifies the fact that it uses buddhi, manas and ahamkara for its expression in the lower planes.» — nota de Singh que reparte los tres gunas entre buddhi, manas y ahamkara; el impreso rinde *clings* como *dings*.

«Cit or universal consciousness during the course of manifestation becomes reduced to Citta which consists of buddhi, manas, and ahamkara. The citta becomes conditioned by its desire for the pleasure of the objects of sense. The constituent of buddhi is primarily sattva. that of manas is rajas and that of aharhkara is tamas. It is this citta which is anu. This citta or anu is called atma in this context. Using buddhi, manas and aharhkara it moves about (atati) from one form of existence to another. Citta is anu or atrna i.e. the individual self in this context. Therefore, anavopaya is concerned with buddhi, manas and ahamkara.» — exposición de Singh al sutra III.1.

«Bhaskara gives a different interpretation of this Sutra. According to him, citta and manas are synonymous, when manas is extroverted, then mentation is called samkalpa; when manas is introverted and it reflects on the Self, its reflection is known as mantra. When manas is turned inward, it can grasp the real nature of Self. This interpretation does not seem to be borne out by the wordings of the Sutra.» — Singh consigna la lectura de Bhaskara para el sutra III.1 y declara su desacuerdo por razón textual.

«Jnanam bandhah. knowledge which is the product of citta; source of bondage. "(Of this limited, empirical self) mind-born knowledge is a source of bondage."» — sutra III.2 con el desglose y la traducción de Singh; el sutra I.2 tenía la misma forma con otro sentido.

«Modes of buddhi and ahamkara which are full of pleasure, pain, and stupefaction and appearance of difference pertinent to the above modes are what constitute knowledge (jnana) of the empirical self (anu). This (limited) knowledge is the source of bondage. Being bound by such knowledge, this empirical self (anu) leads a transmigratory existence.» — comentario de Ksemaraja al sutra III.2.

«"Confined to sattva, rajas, and tamas and knowing only what the senses can inform, the embodied one wanders about in existence, moving from one station to another."» — el Tantrasadbhava citado por Ksemaraja.

«"Being bound up by the Puryastaka that arises from tanmatras and by the modes of mind, the I-making principle and the determinative faculty, the empirical self experiences as a subservient creature pleasure and pain that result from the ideas which originate from the puryastaka and so he becomes subject to transmigratory existence because of the existence of that puryastaka. I shall, therefore, clearly explain what brings about the dissolution of the transmigratory existence of such an individual."» — la Spandakarika III, 17-18 citada por Ksemaraja, con el puryastaka.

«Puryastaka: Lit., the city of the group of eight i.e. the five tanmatras - five subtle forms of matter, viz., sabdatanmatrasound-in-itself, sparsa tanmatra - touch-in-itself, rupa-tan-matra - form in-itself, rasa-tanmotra - taste-in-itself, gandha-tanmatra-Smell-in-itself, and three psychic factors, viz., buddhi, manas, and ahamkdra. It is a synonym for suksma-sarira or subtle body.» — nota de Singh que desglosa el puryastaka en sus ocho componentes. El glosario repite el lema en la plana 315, así que el ancla va en la primera aparición; el impreso parte varios compuestos al fin de renglón y la extracción devuelve *sabdatanmatrasound* y *gandha-tanmatra-Smell* unidos.

«He is unable to see 'the life that vibrates in every atom, the light that shines in every creature, the love that embraces all in oneness.' He is 'cabined, caged and confined' within his particular self and its needs and desires.» — exposición de Singh con dos frases entrecomilladas cuya procedencia no declara.

«Thirdly he considers his mind-body complex, his psycho-physical organism to be his Self. He does not care to know that these are only instruments for the life of the Atma - his real Self on the material plane. So he indulges in gross physical pleasures. The desire for them becomes so strong that he becomes their victim. He does not enjoy them; they enjoy him.» — Singh da la tercera vía por la que el conocimiento limitado ata.

«"Pleasures born of contact are only sources of pain. O son of Kunti, they have a beginning and an end (i.e. they are transient). The wise man does not indulge in them."» — la Bhagavadgita citada por Singh en su exposición.

«"The various desires of such a person are awakened by the force of his subtle body, and he wanders from life to life by acquiring suitable bodies in which these desires can be suitably satisfied."» — Singh traduce el comentario de Ksemaraja a la Spandakarika sobre el arrastre del cuerpo sutil.

«"In the world, knowledge is light that reveals, and Atrna is the universal light that reveals. As both jnana (knowledge) and Atrna are light and there is no difference between them, it is the knower himself that is revealed in knowledge."» — el Vijnana-bhairava citado por Ksemaraja al introducir el sutra III.3; el impreso rinde *Atma* como *Atrna*.

«Kaladlnam tattvanam aviveko maya. of kala etc; of constitutive principles; non-discrimination The non-discrimination of the tattvas like kala etc. is maya.» — sutra III.3 con el desglose y la traducción de Singh; el impreso rinde *Kaladinam* como *Kaladlnam*.

«Maya is non-discrimination (qviveka) i.e. taking as identical those which are considered to be separate. 'Those' refers to the tattvas (constitutive principles) from kala which brings about limited doership or efficacy upto the earth, which are arranged in the form of Kancukas (coverings of Maya) and subtle and gross bodies. In other words, Maya is only an extension of the primal ignorance of Reality.» — comentario de Ksemaraja al sutra III.3; el impreso rinde *aviveka* como *qviveka*.

«"The consciousness of the empirical individual is reduced to limited efficacy by kala (limited doership), the objects of sense are exhibited to him in attractive light by vidya (limited knowledge), he is emotionally affected by raga (desire for particular things); he is endowed with organs of sense-perception and organs of action. Thus arises bondage due to Maya. This bondage is terrible for him (daratmakah). In brief, the gunas (sattva, rajas and tamas) depend on it (maya) and also the righteous and evil activities depend on it. Imbued with them, he is subject to bondage, and remains bound by these."» — el Tantrasadbhava citado por Ksemaraja, con las kancukas una por una.

«The word Maya is used in three senses in this system - Maya sakti, Maya tattva and Maya granthi. Maya sakti is an aspect of Siva's Svatantrya (absolute freedom); it is His power of manifestation in different ways. Maya tattva is the constitutive principle which gives rise to limited objective experience. It is the material cause of Prakrti and insentiency.» — exposición de Singh que separa los tres sentidos de *maya* en el sistema.

«Maya-granthi is the knot of insentiency and sentiency into oneness brought about by Maya. Due to this, the constitutive elements of the psycho-physical organism are taken to be the Self; the kala, vidya, raga etc. the kancukas of Maya, the puryastaka (the subtle body), and the physical body which are prthak - separate from the Self are considered to be aprthak i.e. identical with the Self.» — Singh define el maya-granthi como nudo entre lo consciente y lo inerte.

«Sartre Samharah Kalanam. of the various parts; dissolution in the body.» — sutra III.4 en transliteración con el desglose de Singh; el impreso rinde *Sarire* como *Sartre* y el tramo se corta en el cambio de plana.

«Dissolution of the various parts of the tattvas in the body (gross, subtle, and causal) should be practised by bhavana.» — traducción del sutra III.4 por Singh, ya en la plana 204.

«By sarira (body) is meant the gross body consisting of the five gross elements, the subtle body (consisting of the five tanmatras, manas, buddhi and ahamkara) and the highest or the causal body consisting of prana and subtle manas upto samand.1 In this body (i.e. in the physical, subtle, and causal body) dissolution has to be contemplated upon (dhyatavyah) of all the constitutive parts from the earth upto Siva into the preceding causes by bhavana2 or by the device of burning etc.» — comentario de Ksemaraja al sutra III.4, con los tres cuerpos.

«"One should contemplate successively by means of Bhuvana adhva etc. from gross to subtle and subtle to para or causal till at last the mind is completely dissolved."» — el Vijnanabhairava, verso 56, citado por Ksemaraja.

«'"One should think of one's body being burnt by kalagni4 arising from the toe of the right foot. At last there is the realization of light which is santa, i.e. in which there is not the slightest trace of difference.» — el Vijnanabhairava, verso 52, citado por Ksemaraja: la dahabhavana o quema del cuerpo.

«This upaya being gross has not been adopted in Spanda-sastra because it deals mainly with Saktopaya. Whatever of Saklopaya has been used here as a concluding means has been supported by me by quoting parallel ideas from Spanda-sastra and shall be supported further also.» — Ksemaraja declara por qué el Spanda-sastra no adopta el anavopaya; el impreso rinde *Saktopaya* como *Saklopaya*.

«Kalagni Rudra is the deity full of tejas i.e. burning light. In the human body, his place is supposed to be the toe of the right foot. One has to meditate that Kalagni is arising from that place and burning the entire body.» — nota de Singh que sitúa a Kalagni Rudra en el dedo del pie derecho.

«Karana: This is a technical practice of this yoga. The word Karana does not mean sense in this context. It has been used in an abstract sense. Krtih iti karanam-bhavarthe. Karanam here means doing, operation. It has been used here in the sense of 'Yogic or mystic operation or practice.'» — nota de Singh que acota *karana* como operación y no como sentido.

«The aspirant imagines the body as the representative of the entire universe, then admires the glory of the divine in this universe, and finally considers it all as the divine Self within.» — nota de Singh sobre el karana-yoga: el cuerpo como representante del universo.

«This dhyana is the same as defined by Patanjali, viz. pratyaikatanata dhydnam i.e. the continuous uninterrupted flow of the mental mode.» — nota de Singh que iguala este dhyana al de Patanjali.

«Varna - The word varna literally means letter or sound of a letter. Here it is the unification or assimilation of all the sounds which is known as nada. In the subtle prana inside the body, there is always an unstruck vibration (anahata nada) which is the seed of creativity and dissolution (Srsti-samhara bija). Concentration on the nada is another variety of anava yoga. This kind of yoga is also known as nadanusandhana in other systems of yoga.» — nota de Singh sobre el varna como nada no golpeado dentro del prana sutil.

«Nadi-samhara-bhutajaya-bhutakaivalya-bhutaprthaktvani. dissolution of the prana flowing in the channel; conquest i.e. control of the elements withdrawal of the mind» — sutra III.5 con el desglose y el arranque de la traducción de Singh; el tramo se corta en el cambio de plana.

«"One should breathe in through the left (nose) and breathe out through the right.3 This brings about cleansing of the nadis (channels) and of the middle nadi which is the path to liberation. By breathing out, by breathing in, and by restraining or stopping the breath, there are said to be three types of pranayama.4 They are all common and external. There are also three types of internal pranayama. By the internal one has to perform the recaka, by the internal one has to perform the puraka and by the internal one has to perform tremorless kumbhaka. Thus the three internal pranayamas should be performed."» — el Svacchanda VII, 294-296 citado por Ksemaraja, con los tres pranayamas externos y los tres internos.

«"Concentration on air at the place of the toe of the left foot, on fire in the middle of the navel, on earth in the throat, on water in the uvula, on akasa (ether) on the top of the head brings about all supernormal powers"» — el Svacchanda VII, 299-300 citado por Ksemaraja, que reparte cinco elementos por cinco sitios del cuerpo.

«"The transition of prana from the heart to the navel, and checking it there, the withdrawal of the mind from sense-objects and its transition to the navel (by the device of pratyahara) this is the fourth pranayama'' known as the calm or tranquil one"» — el Svacchanda VII, 297 citado por Ksemaraja sobre el cuarto pranayama.

«"O goddess having pierced through all the knots, such as the heart, the throat etc. right up to unmana by the aforesaid means, and abandoning them altogether, one can attain to the state of the highest freedom of spirit, i.e. Bhairava aspect" (VII, 327)» — el Svacchanda VII, 327 citado por Ksemaraja sobre el atravesar los nudos.

«which has been mentioned before (in I, 20) happens effortlessly as it has been included in sambhavopaya. This coming under anavopaya has to be acquired with effort. This is the difference.» — Ksemaraja separa el mismo poder según venga por sambhavopaya o por anavopaya: allá sin esfuerzo, aquí con él.

«Usually apasavya means right and savya means left, but when apasavya is used as an indeclinable i.e. as apasavyam or apasavyena, it means 'to or on the left', and so also savyam or savyena means 'to or on the right'. This is how Ksemardja interprets it in his commentary on Svacchanda Tantra. This interpretation is confirmed by Svami Laksamana Joo also» — nota de Singh sobre una cuestión de traducción del Svacchanda, con el respaldo de Svami Laksmana Joo; el impreso rinde *Ksemaraja* como *Ksemardja* y *Laksmana* como *Laksamana*.

«When the supreme Siva who is of the nature of changeless light moves forth by His Will, such Sakti, inseparable from Him, is called Unmana, Literally the word means above the mind.» — nota de Singh sobre la unmana sakti y su etimología.

«Svacchanda Tantra saya that after unmana sakti has been acquired, one develops the power of entering another body.» — Ksemaraja consigna, por el Svacchanda, el poder de entrar en otro cuerpo; el impreso rinde *says* como *saya*.

«Cases have been known of yogis undergoing operation of certain parts of the body without chloroform. They withdraw their consciousness from the particular part and hence do not feel any pain.» — exposición de Singh, que aporta un caso contemporáneo como ilustración; la afirmación es suya y no del sutra.

«Mohavaranat siddhih due to a veil of ignorance; supernormal power. "Supernormal power is due to a veil drawn by ignornce."» — sutra III.6 con el desglose y la traducción de Singh; el impreso rinde *ignorance* como *ignornce*.

«Thus the various supernormal powers accrue to the yogi by means of purification of the body, purification of the elements, pranayama, pratyahara, dharana, dhyana and samadhi. All such powers are due to a veil drawn by ignorance, and not to the highest knowledge of reality.» — Ksemaraja introduce el sutra III.6 declarando de dónde vienen los poderes.

«That which deludes is moha; in other words it is Maya. There occurs supernormal power in the form of control and enjoyment of the various things brought about by dharana, etc - in succession which have been mentioned above owing to the veil drawn by maya.1 This power does not denote the manifestation of the highest reality.» — comentario de Ksemaraja al sutra III.6: los poderes vienen del velo de maya y no manifiestan lo Real.

«"One should resort to the middle prana (udana in susumna) in between the passages of prana and apana, and resorting to jnanasakti,2 and having established himself there (i.e. in jnana-sakti), he should take his asana (seat) there.» — el Laksmi-Kaularnava citado por Ksemaraja: el asiento verdadero es la jnanasakti.

«Leaving aside even subtle supernormal sound etc which are modes of sensation caused by the gunas of Prakrti and are experienced by the mind, one should enter the highest state with full I-consciousness (without any thought-construct). This is said to be (real) pratyahara.4 This cuts away the noose of transmigratory existence.» — el mismo texto redefine el pratyahara como entrada en el estado más alto.

«The highest Reality is all-pervasive and cannot be meditated on5 in any objective form. Transcending the attributes of the mind, one should meditate on the universal consciousness as the Light experienced within oneself as the pramata or knower. This is what the wise know as meditation.» — el Laksmi-Kaularnava redefine la meditación: lo Real no puede ser objeto.

«In this world, whether in oneself or in other creatures, if one maintains the idea of sameness i.e. if one experiences in everything the same secondless Siva as I, that is known as Samadhi.''» — el mismo texto redefine el samadhi como idea de mismidad en todo.

«Pratyahara is prati+ahara. Prati means pratipa i.e. in a reverse direction, ahara = taking away. So pratyahara is taking away the senses or the mind in a reverse (inverted) direction. In the present context, it is taking the individual mind in a reverse direction. Ksemaraja rightly says in his commentary i.e. Pratyahara is turning back the individual mind to the universal consciousness from which it has wandered away.» — nota de Singh con la etimología de *pratyahara* y la lectura de Ksemaraja.

«Unmeditable or nirdhyeyam (not an object of meditation) has been used for the highest Reality, because what any one meditates on is an object, but the highest Reality can never be reduced to the position of an object. It is the eternal subject,» — nota de Singh: lo Real no puede volverse objeto de meditación; el tramo se corta en el cambio de plana.

«It is impossible to bring out this significant play on the word in the translation.» — nota de Singh que declara intraducible un juego de palabras del verso.

«The sixth sutra warns that the individual should not aim at the attainment of such limited, inferior powers. His aim should be genuine Self-realization which is ,Siva-realization» — exposición de Singh al sutra III.6.

«Bhaskara in his Varttika interprets this sutra differently. He says that moha etc. only veil the essential nature of Self, it is only by concentrating on the Highest that one acquires Supernormal powers like omniscience and omnipotence. In this interpretation, there does not seem to be any connexion between mohavaranat and siddhih. Ksemaraja's interpretation appears to be better.» — Singh consigna la lectura contraria de Bhaskara al sutra III.6 y declara su preferencia con una razón.

«Mohajayad anantabhogat sahajavidyajayah. delusive Maya; conquest of delusive Maya; boundless, infinite; - expansion, extension whose extension is boundless i.e. which pervades to an unlimited extent; natural inherent knowledge; -=mastery of natural, inherent knowledge.» — sutra III.7 con el desglose de Singh; el tramo se corta en el cambio de plana y la traducción sigue en la 216.

«By an all pervasive conquest of delusive Maya is there mastery of the natural, inherent knowledge of Reality."» — traducción del sutra III.7 por Singh, ya en la plana 216.

«The mastery of sahaja Vidya or inherent knowledge has been spoken of in the context of anavopaya because even anavopaya must terminate in Saktopaya.» — Ksemaraja explica por qué la sahaja vidya aparece dentro del anavopaya.

«"Abandoning identification of Self with bonds existing up to samana one views the essential nature of oneself as pure consciousness. This, however, only amounts to inherence in Self (atmavyapti).1 Inherence in Siva2 (Siva-vyapti) is different from this.» — el Svacchanda Tantra IV, 434-435 citado por Ksemaraja separa atmavyapti y Siva-vyapti.

«"Therefore abandoning merely pure consciousness or merely inherence in Self (atma-vyapti) (as the aim), one should attach oneself to vidya tattva. This vidya tattva should be known as unmana.» — el Svacchanda manda dejar atrás incluso la atma-vyapti.

«Pervasion of inherence in Self or atma-vyapti (also called atma-tattva in this context) is a technical term. When atma (Self) is established in itself as pure consciousness, this state of being confined only to its being pure consciousness is termed atma-vyapti. This is considered to be an inferior state of realization in this system, because in this realization the Self is isolated from everything else and because the Self is considered to be only consciousness without Kriya-sakti (the power of activity). When atma enters the state of Siva, then only is it considered to be the highest realization, because there is no sense of bheda or difference now inasmuch as those things from which the Self was isolated are also now known as Siva and because there is svatantrya sakti in Siva.» — nota de Singh que explica por qué la atma-vyapti es estado inferior en este sistema. (cita larga, releída entera en el crudo: pasa de 700 caracteres)

«Ksemaraja in his commentary on this vidya in Svacchanda Tantra warns that this vidya tattva should not be confused with the vidya tattva which includes the experients from Vijnanakala, upto Mantramahesvara. This vidya tattva is different. It is unmana identified with Siva-consciousness.» — nota de Singh que separa este vidya tattva del homónimo de la escala de tattvas.

«Upto Samana, there is the reign of manas or mind. By conquering moha upto samana, one may be able to acquire atma-vyapti, the stage of pure consciousness. But this is the aim of Sdmkhya and Veddnta.» — exposición de Singh: la atma-vyapti es el fin del Samkhya y la Vedanta, no el de este sistema; el impreso rinde *Samkhya* como *Sdmkhya* y *Vedanta* como *Veddnta*.

«The aspirant has to mount to the stage of Sahaja vidya or unmana where mental consciousness ceases and pure divine consciousness begins. It is only at this stage that one can experience cidananda ghana massive consciousness bliss, and svatantrya sakti and thus Sivavyapti or Siva's inherent state of being.» — Singh sitúa el umbral entre la conciencia mental y la divina en la sahaja vidya.

«Such a high state of realization is not possible by anavopaya. It is possible only by Saktopaya. But anavopaya is only a stepping stone to Saktopaya. It is not an end in itself. It has to end in Saktopaya.» — Singh cierra el sutra III.7 declarando el límite del anavopaya.

«awake, watchful; the second one i.e. the world; an effulgence of light. "(He is) one who is always awake i.e. who is always at-one-ment with unmana and in whom the world appears as his effulgence of light.» — desglose y traducción del sutra III.8 por Singh, ya en la plana 220; la transliteración *Jagrat-dvitiya-karah* queda al otro lado del cambio de plana.

«Having obtained the pure vidya (unmana), and having obtained perfect identification with it, he is ever awake1 (jagrat). In relation to his full consciousness of I, that which appears as the second i.e. that which is considered as this, viz., the world appearing as an object is his effulgence of light. Such is he. The sense is that the world appears like his own light.» — comentario de Ksemaraja al sutra III.8.

«"In whichever thing the consciousness of the universal Being is manifested through the senses, consciousness alone is the substratum of that appearance. Realizing this, one is dissolved in cit or consciousness (which is the substratum of the universe) and thus, experiences the entire fulness of being i.e. there is full aspect of bhairava in him".» — el Vijnanabhairava, verso 117, citado por Ksemaraja.

«"There are only two entities, Sakti (energy, power) and the possessor of that sakti. The possessor of the Sakti is the great Lord, and His sakti constitutes the whole world."» — el Sarvamangala citado por Ksemaraja: solo hay dos entidades.

«It is not only the I-consciousness which is divine. The world in his case is not a mere this - something separate from him, but a ray of his inward light. Dualism in his case has disappeared.» — nota de Singh al sutra III.8.

«Bhaskara interprets this sutra differently. According to him, jagrat here means jnana-sakti - the power of knowledge. By kara he means 'hand'. jnana-Sakti is that which grasps the entire world as non-different from jhana.» — Singh consigna la lectura de Bhaskara para el sutra III.8, que toma *kara* por mano.

«Nartaka atma. dancer on the world-stage, actor, self. "Such a one who has realized his essential spiritual nature is a Self that is only an actor (on the world stage)."» — sutra III.9 con el desglose y la traducción de Singh.

«Dances i.e. he exhibits in himself by his playful movements varied roles of his waking etc which are based on his essential nature that is concealed within. Hence his atma is (like) a dancer1 or actor.» — comentario de Ksemaraja al sutra III.9.

«"O Siva, you have produced a three-world drama which has in its interior Maya as the source of all the existents. You have presented the introductory portion of the drama. Where is the creative artist other than yourself who can bring about its conclusion"3 (Verse 59).» — el Stavacintamani de Bhatta Srinarayana citado por Ksemaraja.

«"When the whole world is asleep only the highest Lord, the producer of the world-drama is awake."» — la Isvara-pratyabhijna citada por Ksemaraja.

«This verse is full of double entendre. It is not possible to bring out all its implications in the translation. Bija in the case of a drama is the source of the plot; bija in the case of the world-drama is Maya. In the drama, the source of the plot is the seed out of which all the events in the drama grow. In the world-drama, it is Maya that is the origin of all the events of the world. A drama has its prologue or introductory portion known as Prastava and its concluding portion known as samhara. The poec says "You have presented the prastava or prologue of the drama, who else excepting yourself can bring about its samhara i.e. who else can bring about the liberation of the characters that are involved in it. Again there is a play on the word kah which means both 'who' and 'prajapati', the creator of beings. The poet says "Where is the Prajapati other than yourself who can bring about the conclusion i.e. the dissolution of the plot of the drama?"» — nota de Singh que desmenuza el doble sentido del verso y declara intraducible parte de él; el impreso rinde *poet* como *poec*. (cita larga, releída entera en el crudo: pasa de 700 caracteres)

«One who has attained to sahaja vidya and has risen to the iinmana level does not retire to a forest or a cave, but accepts his role in the cosmic drama and carries on the duties of life. Just as an actor in a drama plays the part of a certain character but is neither affected nor deluded by the assumption of a particular role, so the Self on the world-stage is not affected by the events in which he participates in life. Inwardly, he is always detached.» — exposición de Singh al sutra III.9: el realizado no se retira al bosque; el impreso rinde *unmana* como *iinmana*.

«Rango'ntaratma. the inner self i.e. the subtle and causal aspects which contain the inner life of the individual; : - the stage. The inner soul constitutes the stage (of the Self that is the actor).» — sutra III.10 con el desglose y la traducción de Singh.

«Antaratma is the inner soul of the subtle form (puryastaka rupa) that has a contracted manifestation with the main constituent being either the void or prana. The word inner i.e. jiva is used relatively to the external body. Having planted his feet on that stage of the inner soul, this actor (Self) displays the world drama by means of the active movements of his inner sense1" (Karana).» — comentario de Ksemaraja al sutra III.10.

«Here again there is double entendre in the word karana. It means both sense and dance pose with particular position of the fingers. In the context of life, Karana means sense; in the context of dance, it means a pose.» — nota de Singh con el doble sentido de *karana*, sentido y paso de danza.

«Preksakani indriyani. spectators; the senses. The senses (of the yogi) are the spectators (of his acting).» — sutra III.11 con el desglose y la traducción de Singh.

«The senses like eyes etc of the yogi witness inwardly their inmost Self full of the delight in exhibiting the world drama. By the development of the performance of the drama, they provide to the yogi fulness of aesthetic rapture in which the sense of difference has disappeared.» — comentario de Ksemaraja al sutra III.11, con el arrobo estético; el tramo cruza el cambio de plana.

«"Some wise man, wishing to taste immortality with reverted eyes (i.e. introspectively) beholds the immanent Self" (Katha II, 4, 1).» — el Katha Upanisad citado por Ksemaraja.

«The senses of the yogi only reveal the inmost actor and no longer conceal Him as they do in the case of the ordinary folk.» — exposición de Singh al sutra III.11.

«Dhivasat Sattva-siddhih. through the higher, spiritual intelligence; - realization of the inner Light of the Self. "Through the higher spiritual intelligence, there is the realization of the Light of the Self."» — sutra III.12 con el desglose y la traducción de Singh.

«Dhi means the intelligence proficient in the awareness of the essential nature. Through it, there is the realization of the sattva which means the subtle, inner throb of the Light of the Self. In drama also the acting of the inner mental condition is achieved through talent.» — comentario de Ksemaraja al sutra III.12, que sostiene el símil teatral.

«In the commentary on this sutra also, there is double entendre in Sattva and dhi. Sattva in this context does not refer to the constituent of Prakrti, but the throb of the perfect I-consciousness and dhi does not mean mere intelligence but rtambhara prajha, inward awakening laden with truth. The Yogi realizes the Sattva (the light of the essential nature of Self) through dhi (the spiritual intuition), just as the actor can act out the sattva (mental state) only through dhi (talent).» — exposición de Singh: el doble sentido de *sattva* y *dhi* sostiene la comparación con el actor.

«is achieved; - the state of being Free; Freedom. Freedom is achieved» — desglose y traducción del sutra III.13 por Singh, ya en la plana 228; la transliteración *Siddhah svatantrabhavah* queda al otro lado del cambio de plana.

«Siddhak means 'is achieved'; svatantrabhavah means 'Freedom which is of the form of inherent knowledge and activity and can bring the entire universe under its control'.» — comentario de Ksemaraja al sutra III.13; el impreso rinde *Siddhah* como *Siddhak*.

«"One should resort to one's Svatantrya Sakti (the power of Absolute Freedom). She (Svatantrya Sakti) is Kali, the para.» — Sri Nathapada citado por Ksemaraja identifica la Svatantrya Sakti con Kali.

«"All the tattvas, all the living beings,2 all the mantras and letters that are known are always under the control of one who has realized himself as non-different from Siva." (VII, 245).» — el Svacchanda Tantra VII, 245 citado por Ksemaraja.

«She is called Kala because she projects the universe (the» — nota de Singh con las etimologías de *kala* aplicadas a la diosa; el tramo se corta en el cambio de plana y sigue en la 229.

«because she knows the universe in its different aspects, ('Kala' also means 'to know', kala Samkhyane), because she makes a reckoning of the world ('kala', means also 'to count, kala, ganane) because, she knows the universe as herself» — continuación de la nota de Singh sobre *kala*: tres etimologías más de la diosa.

«Yatha tatra tatha anyatra. as; there, in the body; so; elsewhere. As he (the Yogi) can manifest Freedom in his own body, so can he elsewhere.» — sutra III.14 con el desglose y la traducción de Singh.

«"He (Yogi) rambles about free of will in the beginning, free of will in the middle, free of will towards the end."» — el Svacchanda VII, 260 citado por Ksemaraja.

«Through the power of Spanda, even senses which are believed to be unconscious can operate as conscious entities. So if one develops Svatantrya Sakti, one can acquire many powers including the power of entering another body.» — nota de Singh que deriva de la Svatantrya Sakti el poder de entrar en otro cuerpo.

«Bijavadhanam seed, the source of the world, attentiveness.» — sutra III.15 en transliteración con el desglose de Singh; el tramo se corta en el cambio de plana.

«"He should give full attention to the active Light of consciousness, the source of the world."» — traducción del sutra III.15 por Singh, ya en la plana 231.

«Bijam means the source of the universe - the active Light of consciousness, the highest Sakti.» — comentario de Ksemaraja al sutra III.15.

«"She (the Para Sakti) is the source of all the gods, and of the» — el Mrtyujit citado por Ksemaraja sobre la Para Sakti como fuente de dioses y saktis; el tramo se corta en el reenvío de plana y la frase se completa al otro lado.

«various Saktis in many ways. This Source is of the nature of fire and moon. From it proceeds everything."» — continuación de la cita del Mrtyujit tras el reenvío de plana.

«Para Sakti and para vak are the same.» — nota de Singh que iguala los dos términos.

«Fire and moon - agni-somatmika. This symbolism applies to pramana-prameya, prakasa-vimarsa, jnana-kriya, etc.» — nota de Singh que reparte el simbolismo de fuego y luna en tres pares.

«The Yogi should direct his attention again and again to para sakti which is the source of the universe.» — Ksemaraja cierra el sutra III.15.

«Asanasthah sukham hrade nimajjati. established in the highest power of Sakti; - easily; lit, in the lake, here - in the ocean of immortality: is steeped in, is plunged. "Established in the highest power of divine Sakti, he is, with ease, steeped in the ocean of immortality."» — sutra III.16 con el desglose y la traducción de Singh.

«"Neither meditate on something above2, nor on the middle., nor on something down below, neither in front, nor at the back, nor at both the sides, neither on something within the body, nor should one meditate on something outside. Neither one should fix one's gaze on the sky, nor on something down below. Neither one should close one's eyes nor should one keep the eyes open without blinking. Neither one should meditate on something as a support (avalambam) (like image, picture etc.) nor on a negation of support [niralambam) nor on a support over and over again (salambam)3 nor on the senses, nor beings, nor on sense-perceptions like sound, touch, taste etc. Thus leaving aside every support, established in samadhi,4one should only abide identified with the Highest. That has been said to be the highest state of Siva, that verily is the seat of the Highest Atrna which is without any external appearance. If one attains this state, he does not return any more» — el Mrtyujit VIII, 41-45 citado por Ksemaraja: una serie entera de negaciones sobre dónde no meditar; el impreso rinde *Atma* como *Atrna*.

«Asana here is not physical seat, but mental. So asanasthah means 'one who is mentally established in parasakti, one who is always mindful of her'.» — nota de Singh que acota *asana* como asiento mental.

«Avalambam is a support like an image, an idol, a portrait etc. Niralambam - negation of support. When the mind thinks of negation of support, the idea of support crops up within it.» — nota de Singh sobre los soportes de la meditación y el que aparece al negarlos.

«The 16th Sutra says that if he is fully established in the awareness of para Sakti, then he need not go through any formal process of concentration or meditation anymore. By completely setting aside all notion of the body etc. being identified with the Self, he will be steeped in the bliss of immortality.» — exposición de Singh al sutra III.16: ya no hace falta proceso formal de concentración.

«The measure of Consciousness i.e. that aspect of Consciousness which coagulates. production, creation, fabrication, formation. effects, brings about, produces. He can bring about forms in accordance with that measure or aspect of consciousness which is creative and in which he is established."» — desglose y traducción del sutra III.17 por Singh, ya en la plana 235; la transliteración *Svamatranirmanam apadayati* queda al otro lado del cambio de plana y el impreso la rinde *Svamdtrdnirmanam*.

«"That1 alone exists as gross, O dear one, owing to its desire to appear as gross. That alone gets settled differently as gross or subtle" (IV, 295).» — el Svacchanda IV, 295 citado por Ksemaraja.

«"Because of the power of creative thought (vimarsa sakti), He (the foundational Self) makes Himself as the object of knowledge. The object has no separate existence of its own. If He were to depend upon an object2 (something outside Himself) for creation, His absolute freedom would be violated." (I, 5, 15).» — la Isvara-pratyabhijna I, 5, 15 citada por Ksemaraja.

«"O dear one, one who knows from the mouth of his spiritual director that water and ice are (essentially) the same (is liberated). He has no further obligation to discharge. He will have no further birth."» — el agama citado por Ksemaraja, con el símil del agua y el hielo.

«Objects are determined by Consciousness, not vice versa. If consciousness were to be determined by the objects, the absolute freedom of the Lord cannot be maintained. There would be a break in His absoluteness of freedom so far as objects are concerned.» — nota de Singh que invierte la determinación entre objeto y conciencia.

«Vidya-avinase janma-vinasah. Sahaja Vidya; So lone as the vidya does not disappear; there is disappearance (of the possibility) of another birth. "So long as Suddha vidya does not disappear, the possibility of another birth for him vanishes completely."» — sutra III.18 con el desglose y la traducción de Singh; el impreso rinde *long* como *lone*.

«"If leaving the world with its expanse of phenomena acceptable or rejectable, straw, leaf, stone, together with the mobile and immobile existents, right from Siva1 down to earth accompanied by positive and negative entities, one meditates over all as Siva, one will not have to undergo birth again."» — el Sri-Kanthi citado por Ksemaraja.

«"One's liberation acquired through a tradition of spiritual teachers is excellent and pure. Having realized it, one becomes liberated while alive, and after passing away from the world is not born again."» — el Svacchanda citado por Ksemaraja sobre la liberación por linaje de maestros.

«Taking Siva as an object is also ignorance. This mentality has also to be given up. Siva is the eternal Subject and should not be considered to be an object.» — nota de Singh: también tomar a Siva por objeto es ignorancia.

«The three tattvas are nam, Sakti, and Siva. Nara tattva is bhedapradhana, predominantly associated with difference. It is objective. Sakti tattva is bhedabhedapradhdna. It posits abheda or identity in difference. It is cognitive. Siva tattva is abheda-pradhana, predominantly concerned with non-difference. These tattvas are only aspects of temporal manifestation; they do not belong to eternity.» — nota de Singh que reparte los tres tattvas por su relación con la diferencia; el impreso rinde *nara* como *nam*.

«Bhaskara adopts the reading vidya vinase instead of ,'vidyaavinase'. He interprets vidya as lower, impure vidya pertaining to objects, and says that with the disappearance of this vidya, there is no further birth.» — Singh consigna la variante textual de Bhaskara para el sutra III.18, que invierte la condición. El impreso parte *vidya-avinase* al fin de renglón y la extracción pierde ese guion.

«Kavargadisu mahesvaryadyah pasu-matarah. Mahesvari and other deities - in the 'ka' group and other groups of letters who are the mothers of the limited, empirical beings. Mahesvari and others who have their field of operation in 'ka' group and other groups of letters and are the mothers of limited beings (become their governing deities).» — sutra III.19 con el desglose y la traducción de Singh; el tramo cruza el cambio de plana.

«"That Sakti (in the form of I-consciousness) of the Creator of the world who is said to be constantly co-inhering in Him - becomes Iccha (will power) when He wants to create. Listen, how She, though one, becomes many. 'This object is like this, not otherwise' - announcing this positively, she is said to be jnana sakti (the power of knowledge) in this world. When Iccha Sakti appears in the form 'well, let this thing now become' and then making that thing like that (i.e. according to the decision), she is said to be kriya-Sakti (the Power of execution).» — el Malini-Vijaya III, 5-13 citado por Ksemaraja, que reparte iccha, jnana y kriya.

«With the division of bija and yoni, she is of two kinds. The vowels are considered to be the bija (seed). With ka and other letters she is said to be yoni (consonants). According to the division of the groups of the consonants, she is of nine kinds.» — el mismo pasaje del Malini-Vijaya reparte vocales y consonantes entre bija y yoni.

«In this context bija (the vowel) is called Siva and yoni (the consonant) is called Sakti.» — el Malini-Vijaya adscribe la vocal a Siva y la consonante a Sakti.

«Here matrka has been mentioned with the intention of showing that even if a person has realized the truth, he is, if he happens to be heedless, deluded by Mahesi and other deities governing the limited individuals by means of the application of words that influence his mind.» — Ksemaraja distingue el papel de la Matrka en el sutra I.4 y en el III.19.

«Cintamani or thought-gem is a fabulous gem supposed to yield its possessor all desires.» — nota de Singh sobre el cintamani.

«Sutra 19 says that the Yogi should not become heedless after he has acquired Sahaj Vidya. Until all the residual traces of his life are completely wiped out, there is always a possibility of fall from the high pedestal he has risen to. There are always attractions of the ordinary course of life couched in words. If he comes under their influence, he is bound to be ruined spiritually.» — exposición de Singh al sutra III.19: el riesgo de caída persiste mientras queden trazas.

«There are certain dark forces in the world carrying out their designs through words which have a tremendous influence» — Singh nombra fuerzas oscuras que obran por medio de palabras; la afirmación es suya y el tramo se corta en el cambio de plana.

«on the minds of people. The Yogi should, therefore, be always on the alert and should not fall a victim to the solicitation of sense-pleasure.» — continuación de la misma frase ya en la plana 243.

«Trisu caturtham tailavad asecyam. the fourth one (the Atrnic state of consciousness) in all the three states of consciousness viz., waking, dreaming, and deep sleep; Like (uninterrupted flow of) oil; should be poured into. The fourth state of Atmic consciousness should be poured like (uninterrupted flow of) oil in the three states (of waking, dreaming and deep sleep).» — sutra III.20 con el desglose y la traducción de Singh; el impreso rinde *Atmic* como *Atrnic*.

«Tailavat means 'as oil gradually spreading more and more pervades its receptacle, so should the fourth one be poured so that the lustrous elixir of the fourth state which appears at the initial and the final point may pervade the intervening state also by the device of firm grip so that the triad of the waking, dreaming and deep sleep state may acquire the condition of complete identification with it.» — comentario de Ksemaraja al sutra III.20, con el símil del aceite que empapa el recipiente.

«Hathapaka means assimilation of an experience to the consciousness of the experient by a single obstinate, forcible grip.» — nota de Singh sobre el hathapaka.

«Just as a sheath is different from the sword but can hold it completely within itself so the three states are different from the fourth, but can be completely saturated with its elixir.» — nota de Singh con el símil de la vaina y la espada.

«Magnah svacittena praviset. plunged; with the mind of the inner I without any thought-construct; should enter. "One should enter it by being plunged into it with an, awareness of the inner I without a thought-construct".» — sutra III.21 con el desglose y la traducción de Singh.

«Bhaskara reads svacitte instead of svacittena and interprets svacitte as svatmani - in one's essential Self. According to him, the sutra means one should (mentally) plunge into one's essential self.'» — Singh consigna la variante textual de Bhaskara para el sutra III.21.

«"Giving up all mental activity, one should be united to Siva only with bodha1 (i.e. an awareness without any thoughtconstruct). Then one acquires the status of Siva (i.e. is identified with Siva), and the limited empirical self is liberated from the ocean of transrnigratory form of existence."» — el Svacchanda IV, 437 citado por Ksemaraja; el impreso rinde *transmigratory* como *transrnigratory*, y parte *thoughtcon-struct* al fin de renglón, de modo que la extracción devuelve *thoughtconstruct*.

«"O dear one, when the manasa2 cetana3 sakti4 and atma5 - these four are dissolved, then one acquires the essential nature of Bhairava".» — el Vijnanabhairava, verso 138, citado por Ksemaraja.

«"When, O Mother, men renounce all mental activities and are poised in a pure state, being free from the bondage of the pursuit of sense activities,6 then by thy grace is that supreme state realized at once which rains down the nectar of unlimited and unparalleled happiness.» — el verso laudatorio del Jnanagarbha citado por Ksemaraja.

«The great teacher referred to is Pradyumnabhattapada, a pupil of Kallata.» — nota de Singh que identifica al gran maestro del verso.

«The aspirant enters the secret chamber of the transcendental consciousness with a spontaneous immediacy of feeling as the baby slips into its mother's arms.» — el símil con que Singh cierra el sutra III.21; es suyo.

«Prana-samacare samadarsanam of the prana (the vital breath); on the occasion of proper and slow spreading out; awareness of all being the same.» — sutra III.22 en transliteración con el desglose de Singh; el tramo se corta en el cambio de plana.

«When the prana of the Yogi properly and slowly spreads out (then) he has an awareness of all being the same i.e. he has unity-consciousness.» — traducción del sutra III.22 por Singh, ya en la plana 249.

«In Bhaskara, there is a difference in the order of the sutras. The 23rd sutra of Ksemaraja is the 22nd sutra of Bhaskara, and the 22nd sutra of Ksemaraja is the 23rd sutra of Bhaskara. Bhaskara thus interprets this sutra. Prana here means the power of omniscience and omnipotence. This manifests itself as the highest nada which enters letters, words, and the empirical individuals and experiences identity with them. This is what is meant by samadarsana.» — Singh consigna que Bhaskara invierte el orden de dos sutras y lee *prana* de otra manera.

«"Giving up customary practices, one should resort to non-dualism which brings about liberation. Then his attitude towards all the gods becomes the same, and also towards all the castes and asramas. He looks upon all things as the same. He is free from all bonds."» — el Anandabhairava citado por Ksemaraja: el no dualismo iguala dioses, castas y asramas.

«"In the case of those who are free from the limitations caused by the assumption of external space, time and form; even when buddhi and prana are active (i.e. in the normal course of life), they have the experience of the entire universe as the Self."» — el comentario a la Isvara-pratyabhijna citado por Ksemaraja.

«Samadarsanam means 'awareness of every thing uniformly as a mass of the bliss of Cit (the central» — comentario de Ksemaraja al sutra III.22; el tramo se corta en el cambio de plana.

«Madhye'vara-prasavah in the intervening stage, inferior; generation or arising (of states). 'In the intervening stage, there arise inferior states of mind.'» — sutra III.23 con el desglose y la traducción de Singh.

«"Even when one has obtained some impression of the transcendental state, if one is not on the alert, then the vinayakas induce him to transient pleasures. Therefore one who desires to obtain the highest state should not have any attachment for these (transient pleasures)."» — el Malinivijaya citado por Ksemaraja, con los vinayakas que desvían.

«Matra-svapratyaya-sandhane nastasya punarutthanam. objects; on the union of the real I-consof the lost; rising again. "When the real I-consciousness is joined to the objects, the transcendental state of consciousness which had disappeared appears again".» — sutra III.24 con el desglose y la traducción de Singh. El desglose de la plana corta *I-cons-* al fin de renglón y la extracción lo pega a lo que sigue: *I-consof*.

«"Whatever is perceived through the eye, whatever becomes an object of consciousness through word, whatever the mind thinks of (viz., pleaure, gain etc.), whatever the intellect ascertains, whatever is appropriated to the empirical 1-consciousness, whatever exists as an object of consciousness, even what does not exist (and is only a matter of imagination or fancy), the Light of Consciousness or Siva should be assiduously investigated in all these." (XII, 163-164).» — el Svacchanda-tantra XII, 163-164 citado por Ksemaraja; el impreso rinde *pleasure* como *pleaure* y *I-consciousness* como *1-consciousness*.

«"Whose mind is chock-full of the highest reality (that being the sole object of knowledge), steady, fully contented (i.e., without any desire) in all cases, his mind does not deviate (from its fixed aim), even when he passes through all sorts of circumstances. Wherever his mind moves, he should think of Siva (the object of his knowledge) there itself. As everything is Siva, where else shall his mind go to? In the apprehension of all objects, in all sense-enjoyments - in whichever condition the Yogi may happen to be placed, wherever he may investigate, there is no place where Siva does not exist." (IV, 311-314).» — el Svacchanda-tantra IV, 311-314 citado por Ksemaraja.

«Siva-tulyo jayate like Siva; - becomes. (Such a Yogi) becomes like Siva.» — sutra III.25 con el desglose y la traducción de Singh.

«With the intensive practice of remaining in the turya state, he obtains the turyatita state and thus becomes like God Siva who is perfectly pure, absolutely free, and a mass of consciousness and bliss. So long as the body-aspect1 does not vanish, he is like Siva. When the body perishes, he is veritable Siva.» — comentario de Ksemaraja al sutra III.25, con la acotación sobre el cuerpo.

«The identification with Siva is, to start with, only mental. Finally, it is actual.» — nota de Singh sobre el orden de esa identificación.

«Sariravrttir Vratam remaining in the body, retaining the body; - observance of pious act Remaining in the body is all his observance of a pious act» — sutra III.26 con el desglose y la traducción de Singh.

«In other words, the regular observance of a pious act in the case of this Yogi consists in his being engaged in the worship of the ever-present Supreme in the form of the awareness of one's essential nature.» — comentario de Ksemaraja al sutra III.26.

«"As in a well-kindled fire, the flame is seen in the sky: so like that the Self (atma) though existing in the body and prana is merged in the state of Siva."» — el Svacchanda-tantra IV, 398 citado por Ksemaraja, con el símil de la llama y el cielo.

«"The wise man is always marked with higher modes of yogic poses that arise from the body (i.e., while the body is retained). He alone is the (real) holder of yogic poses; the rest who only maintain certain gross poses of hands and the body are only holders of bones."» — el Trikasara citado por Ksemaraja objeta a quienes se quedan en las posturas externas.

«"The (higher) powers2 (lit., rays of light) converse only with those who do not put on any perceptible (religious) mark. They do not come near those who put on visible marks of piety, for they are very occult beings."» — el Kulapancasika citado por Ksemaraja niega los poderes a quien lleva marcas visibles de piedad.

«In this verse, deha or body has been compared to wood, mantra has been compared to arani - a piece of wood used for kindling fire by friction; prana has been compared to fire. sikha or flame has been compared to atma (Self); ambara or sky has been compared to Siva.» — nota de Singh que desglosa el símil del Svacchanda término por término.

«Katha japah. conversation; muttering prayer or sacred formula. ('His) conversation constitues muttering of prayer.» — sutra III.27 con el desglose y la traducción de Singh; el impreso rinde *constitutes* como *constitues*.

«"Of that God who is greater than all the gods and who is supreme consciousness itself, the highest Sakti is I-consciousness which is omniscient, full of wisdom."» — el Kalikakrama citado por Ksemaraja.

«"That contemplation which is made over and over again on the highest state (i.e. on the Supreme I-consciousness) is in this subtle teaching a japa. Such an inner automatic Sound (of I) which is of the nature of a mantra should be pondered over again and again. This is the kind of subtle japa that the yogi should perform." (Verse 145).» — el Vijnanabhairava, verso 145, citado por Ksemaraja: el japa como contemplación repetida.

«The word japa is here taken as an anacrostic word - 'ja' standing for jani meaning birth, creation, and pa standing for palana meaning protection. Japa, therefore, means that which protects created beings.» — nota de Singh que descompone *japa* en dos sílabas; el impreso rinde *acrostic* como *anacrostic*.

«The ha of this mantra represents Sakti and sah represents Siva. Am in hamsah represents the jiva. The apana or incoming breath represents Sakti and prana, the outgoing breath represents Siva. This is known as trika-mantra also as it includes in itself the three realities of Siva, Sakti and nara (jiva). The aspirant has to concentrate on am which is the junction point of ha and sah.» — nota de Singh que reparte las sílabas del hamsah entre Sakti, Siva y jiva y nombra el trika-mantra.

«One round of inspiration-expiration takes 4 seconds. So» — nota de Singh que reconstruye por aritmética la cifra de 21,600 repeticiones del hamsah; el tramo se corta en el reenvío de plana y el cálculo se completa al otro lado.

«there is automatic japa of hamsah (I am He) 15 times in a minute. In one hour, there would be (15x60) 900 repetitions of this japa. In a full day and night, there would be (900x24) 21,600 repetitions of this japa.» — cierre del mismo cálculo tras el reenvío de plana.

«Danam1 means gift derived from the root da of the 3rd conjugation, the meaning accordingly would be - the perfect essential mature is given as a gift.» — comentario de Ksemaraja al sutra III.28, con la primera de cuatro etimologías de *danam*; el impreso rinde *nature* como *mature*.

«The word danam can also be derived from the root do of the 2nd conjugation which means 'to cut, to divide'. In this sense, danam indicates that the difference of the universe (from Siva) is cut asunder.» — segunda etimología de *danam*, la de cortar.

«The word danam may also be derived from the root 'di' of the 2nd conjugation which means 'to preserve', suggesting that the Siva-nature acquired by him is well preserved.» — cuarta etimología de *danam*, la de preservar.

«"The great Yogis who are well-established in kulacara will enable people to cross the extensive ocean of worldly existence by their sight or touch."» — verso que Ksemaraja cita sin nombrar fuente.

«Kulacara means trikacara - the unity of nara (jiva) Sakti and Siva.» — nota de Singh sobre el kulacara.

«Vrata - observance of a pious act like fasting on a particular sacred day, japa - recitation of a mantra, dana, giving alms in charity may well begin as anavopaya, as kriya-yoga, but the Sutras 26, 27, and 28 say that when the anu or empirical self is advanced in yoga and has realized Self, then vrata, japa, and dana are converted into Saktopaya, then they are lifted from ordinary, routine rituals to the status of mystic practices where they are not merely external routine observances but expressions of jnana or Self-realization.» — exposición de Singh: voto, japa y dádiva empiezan como anavopaya y se vuelven Saktopaya.

«who; is established in Sakti Cakra; (he) is the means, agency of wisdom; indeed, surely. He who is established in the group of saktis (who has acquired mastery over the saktis) serves, indeed, as an agency of wisdom."» — desglose y traducción del sutra III.29 por Singh, ya en la plana 263; la transliteración *Yo'vipastho jnahetusca* queda al otro lado del cambio de plana.

«Avipasthah - (avi - pa - sthah) - Avi means 'animal'; pa means 'protector'; Avipa, therefore, means the protector of animals i.e. those who look after limited individuals i.e. the deities Mahesvari etc. presiding over the group of letters like ka etc., who are pasu-mdtarah as stated in the 19th sutra of the 3rd section, i.e. mothers of empirical individuals Sthah means he is seated there i.e. being aware of his pre-eminence: he shines in all his glory as the lord of those saktis.» — comentario de Ksemaraja al sutra III.29, con el desglose del compuesto.

«How can any body else who is under the sway of sakti-cakra and is thus incompetent to awaken himself enlighten others?» — Ksemaraja niega la competencia de enseñar a quien no se ha despertado a sí mismo.

«Others from the point of view of hermenia which maintains that interpretation should be made in accordance with every letter interpret this sutra thus: Yo suggests Yogindra - a yogi par excellence, vi suggests vijnana - special knowledge, pa suggests pada or state. So pa and sthah which is the final word together make up padasthah which means 'established in the state'.» — Ksemaraja consigna una lectura ajena que interpreta letra por letra.

«This interpretation does not appeal to us, for it is not very agreeable from the point of view of consistency of the words of the sutra. Such an interpretation of every sutra can be given in a thousand ways.» — Ksemaraja objeta esa lectura por letras: así se podrían dar mil interpretaciones.

«Svasakti-pracayo'sya visvam. his; power; elaboration; unfoldment; the universe. "The universe is the unfoldment of his power."» — sutra III.30 con el desglose y la traducción de Singh.

«From the point of view of the scriptures which maintain that 'the entire world is Siva's sakti', this world is only a form of His sakti. As the Yogi has been described to be like Siva, therefore the universe is pracaya i.e. expansion of Consciousness.» — comentario de Ksemaraja al sutra III.30.

«"Consciousness shines in various external and internal forms.4 There is no existence of objects apart from consciousness. Therefore, the world is simply a form of consciousness. Objects are not known by anybody without consciousness. It is consciousness that has assumed the forms of objects. It is through consciousness that objects are ascertained. Through the application of affirmation and negation, there is division of existents either as positive or negative. The objectivity of existents through the operation of consciousness is only a form of consciousness itself. As knowledge and the known i.e. its objects are apprehended together, therefore are they (knowledge and its object) one and the same."» — el Kalikakrama citado por Ksemaraja: no hay objeto fuera de la consciencia. (cita larga, releída entera en el crudo: pasa de 700 caracteres)

«Netra in its nairuktic or etymological interpretation means niyantritanam tranam - the saviour of the restrained or limited beings. The letter na of netra stands for and the letter tra stands tor It is impossible to bring this out in translation. Siva is called netra (lit. eye), not because He is the physical eye, but because it is He who through His grace reveais His concealed being to them who turn towards Him. It is He alone who both conceals and reveals Himself.» — nota de Singh con la etimología de *netra*, que declara intraducible; el impreso rinde *reveals* como *reveais* y *for* como *tor*.

«Sthiti-layau maintenance (of manifestation); reversion to a potential state. "Maintenance of the manifested state and its reabsorption are also an unfoldment of his power."» — sutra III.31 con el desglose y la traducción de Singh.

«"He who experiences that consciousness which is entirely pure, not depending on any support (i.e. object) and is of the same form as one's deeper I-consciousness is liberated while alive; there is no doubt about it."» — el Kalikakrama citado por Ksemaraja sobre la liberación en vida.

«Tat pravrttau api anirasah Samvetr-bhavat. in spite of the occurrence of manifestation etc. no break or shift. because of the state of the knower. "In spite of the maintenance and dissolution of the world occurring one after another, there cannot be break in the awareness of the Yogi, because of his being the knower or Subject."» — sutra III.32 con el desglose y la traducción de Singh.

«"With the disappearance of phenomena brought about by avidya (nescience), the nature of consciousness does not disappear. As consciousness or awareness is free of appearance or disappearance, there cannot be a real disappearance of knowership. Since it is avidya itself which is spoken of as appearing or disappearing figuratively, how can that (i.e. samvit or consciousness or knowership) be said to disappear which by nature never disappears."» — el Kalikakrama citado por Ksemaraja: la avidya aparece y desaparece, la consciencia no.

«"In the highest reality known as Atma (the transcendental Self), there are two aspects called karta3 (subject) and karya4 (object). Of these two, the object is perishable, the subject is imperishable. Only the effort directed towards an object ceases. On its cessation, only an ignorant chap thinks "I am ruined".5 Because of the disappearance of another (the object) there can never be the disappearance of the inner nature (subject) which is the substratum of omniscience."» — la Spandakarika I, 14-16 citada por Ksemaraja, con el necio que se cree arruinado.

«With the change in manifestation, there is no change in Consciousness, or the Experient, for even change cannot be experienced without an unchanging principle.» — nota de Singh con el argumento del principio inmutable.

«Sukha-duhkhayor bahirmananam. of pleasure and pain; considering as external. 'This yogi considers pleasure and pain as something external'.» — sutra III.33 con el desglose y la traducción de Singh.

«When the sutra 30 under the 3rd section says that the universe is an unfoldrnent of his sakti (creative power), it means that the whole universe appears as pervaded by his I-consciousness. It does not mean that particular experiences like pleasure and pain are identified with his I-consciousness. This is what this sutra means to suggest.» — Ksemaraja acota el alcance del sutra III.30: el mundo es despliegue suyo, pero no por eso placer y dolor son suyos; el impreso rinde *unfoldment* como *unfoldrnent*.

«"Those who have transcended the state of the limited subjectand entered the stage of a real subject3 do not experience pleasure and pain even when they are presented by their respective causes. Rather pleasure and pain are not produced in their cases, for the causes of pleasure and pain are absent so far as they are concerned.4 They have only the experience of the natural bliss of divine consciousness."» — la Pratyabhijna-sutra-vimarsini citada por Ksemaraja; el impreso parte *subject-* al fin de renglón con un guion que no es léxico y la extracción devuelve *subjectand*.

«"When there is neither pleasure nor pain5, nor object,6 nor (limited) subject,7 nor state of stupefaction or insentiency8 - that is the state of Absolute Reality." (I, 5).» — la Spandakarika I, 5 citada por Ksemaraja.

«Pleasure is caused by raga or attraction, personal interest in something; pain is caused by dvesa or repulsion from something. The yogi has risen above raga and dvesa. So the causes of pleasure and pain are absent in his case.» — nota de Singh que remonta placer y dolor a raga y dvesa.

«The consciousness of the psychological individual is relational i.e. there is always relation of a subject to an object, a grahaka grahya-bhumi - a subject-object duality. The transcendental consciousness is non-relational free from the duality of subject and object. The Yogi who has acquired transcendental consciousness is not affected by the psychological states of relational consciousness.» — exposición de Singh al sutra III.33: la conciencia trascendental no es relacional.

«Tadvimuktastu kevali Free from the influence of pleasure and pain; then, rather; established in his real Self. "Being completely free from the influence of pleasure and pain, he is rather Alone - fully established in his real Self as sheer consciousness".» — sutra III.34 con el desglose y la traducción de Singh.

«"The Yogi should obtain the fruit of yoga by shattering the barrier of the delusion of duality fabricated by the plethora of pleasure, pain etc., and the thought-constructs of various sorts of knowables."» — el Kalikakrama citado por Ksemaraja.

«Mohapratisamhatas tu Karmatma. delusion; : - closely compacted but; involved in good and evil deeds. "But one who has become a compact mass of delusion is involved in good and evil deeds."» — sutra III.35 con el desglose y la traducción de Singh.

«"When enveloped in avidya (primal ignorance) and owing to the use of various thought-constructs, one does not immediately comprehend all the tattvas (principles) beginning with Siva as his own Self, then good and evil states of mind appear and under the influence of avidya intense misery accrues to him owing to evil deeds."» — el Kalikakrama citado por Ksemaraja en el sutra III.35.

«Bheda-tiraskare sargantara-karmatvam. difference: removal, disappearance kingdom of Nature, variety of life; another performance, creation. "On the disappearance of difference, there accrues (to the yogi) the capacity to create a different kingdom of Nature and variety of life."» — sutra III.36 con el desglose y la traducción de Singh; el tramo cruza el cambio de plana.

«"Of the gods Brahma, Visnu, and Indra, of siddhas, daityas, and kings of serpents, he becomes the creator of fear by his curse, and the dispeller of fear by his grace. He crushes the pride of death, and knocks down even mountains." (VI, 54-55).» — el Svacchanda-tantra VI, 54-55 citado por Ksemaraja sobre el poder del yogui.

«Three-fold japa is a technical term. It does not mean three times, but japa in a three-fold way as given below:» — nota de Singh que acota el *japa triple*.

«Sambhava japa - In this, the aspirant has to concentrate on the junction-point of prakasa and vimarsa. The three factors involved in this are - prakasa, vimarsa, and their junction point. (2) Sakta japa - In this, the aspirant has to concentrate on the junction point of pramana and prameya. The three factors here are (i) pramana (2) prameya and (3) the junction point from which pramana and prameya arise. (3) Anava japa - In this, the aspirant has to concentrate on the junction-point of prana and apana. The three factors here are (i) prana (ii) apana and (iii) their meeting point.» — nota de Singh que reparte los tres japas por su punto de unión.

«Karanasaktih svato'nubhavat. the power to create. of one's own; - from experience. "One can realize the capacity of creativity from one's own experience."» — sutra III.37 con el desglose y la traducción de Singh.

«From one's own experience in the matter of imagination and dreams one's capacity to create extraordinary things is well established.» — comentario de Ksemaraja al sutra III.37: el sueño y la imaginación son la prueba.

«"When the Yogis shine forth with manifest power of creativity, their want of firmness for creativity is firmly and immediately shattered, and then their Will power becomes a Kalpataru".» — el Tattvagarbha citado por Ksemaraja, con el árbol de los deseos.

«Kalpataru is a tree of svarga or Indra's paradise fabled to fulfil all desires; the wish-fulfilling tree.» — nota de Singh sobre el kalpataru.

«Tripad ady anuprananam. of the three states; principal, pre-eminent, - enlivening,» — sutra III.38 en transliteración con el desglose de Singh; el tramo se corta en el cambio de plana.

«"Of the three states, there should be enlivening by the main one (which is svatantrya sakti full of creative bliss)".» — traducción del sutra III.38 por Singh, ya en la plana 281.

«This transcendental bliss though veiled by Maya-sakti appears (for an instant) like a flash of lightning on the occasion of the enjoyment of various objects of pleasure.» — Ksemaraja describe el destello de la dicha trascendental como relámpago dentro del goce ordinario.

«Anuprananam or enlivening oneself means vitalizing oneself by following more and more the awareness of that bliss which exists within. That is to say one should animate oneself with that vitality.» — Ksemaraja define *anuprananam*.

«When one experiences the expansion of the joy, delight and rapture of savour arising from the pleasure of eating and drinking, one should meditate on the perfect condition of this joy, and then one would become full of great bliss.» — el Vijnanabhairava, versos 69-73, citado por Ksemaraja: el goce de comer y beber como puerta.

«"The Spanda3 principle is established in that state in which is placed a man who is extremely exasperated or exceedingly delighted or is utterly bewildered, considering 'What am I to do' or runs to and fro (for the safety of his life)"» — la Spandakarika I, 22 citada por Ksemaraja: el spanda se halla en los estados extremos.

«Since the sexual pleasure is obtained only by memory even in the absence of a woman, it is evident that the delight is inherent within. It is this delight apart from any woman that one should meditate on in order to realize the bliss of the transcendental consciousness.» — nota de Singh que deriva del recuerdo la interioridad del deleite.

«One can turn even a sensuous joy into a means of Yoga. In the above verses, examples of all sorts of sensuous joy have» — nota de Singh que convierte el goce sensorial en medio de yoga; el tramo se corta en el cambio de plana.

«been given. Joy of sexual intercourse is an example of sparse (contact); joy at the sight of a friend is an example of pleasure of rupa (visual perception); joy of delicious food is an example of rasa (taste); joy derived from a song is an example of the pleasure of sabda (sound).» — continuación de la misma nota ya en la plana 284, que reparte los ejemplos entre cuatro sentidos; el impreso rinde *sparsa* como *sparse*.

«Whenever there is intensity of awareness, one should look for the divine principle of activity.» — nota de Singh que convierte la intensidad en señal.

«The yogi should not rest content with the vitalization of the three normal states with the bliss of turya only in the condition of an inward grip of the turya, but also:» — Ksemaraja introduce el sutra III.39.

«Cittasthitivat sarira-karatia-bdhyefU. the state of mind, like body, =organs of sense, external. As in the case of the states of the mind, so also in the case of the body, organs of sense, and external things, there should be vitalization with the bliss of the transcendental consciousness.» — sutra III.39 con el desglose y la traducción de Singh; el impreso rinde *sarira-karana-bahyesu* como *sarira-karatia-bdhyefU*.

«Samvahya means a bound being involved in Karma who is, together with the coverings of Maya, inner psychic apparatus, outer senses, tanmatras, and the gross elements presided over by the group of saktis, carried forward from one form of existence to another. Of such a being, as described by Svacchanda-tantra in the words, 'in such a case, desire is the limiting, tainting condition', there is extroversion on account of anavamala known as avidyd or primal ignorance consisting in the feeling of imperfection. Bahirgatih or extroversion means that in him there is always an inclination towards and interest in external objects, and never an attentiveness to the inner nature.» — comentario de Ksemaraja al sutra III.40; el troceo abre la plana 285 a media exposición porque faltan del escaneo las páginas impresas 216 y 217.

«On account of false ideation, they are tormented in hell; they are burnt by their own vices just as bamboos are burnt by their own fire.» — el Kalikakrama citado por Ksemaraja, con el símil del bambú que arde con su propio fuego.

«Owing to delusive ideas, these people reap the fruit of avidya; they acquire a body which is the product of Maya and suffer misery according to their deserts."» — cierre de la misma cita del Kalikakrama.

«Tadarudhapramites tatksayaj jivasamk sayah. - of the one whose awareness is fully established in that (i.e. turya state); with the ending of that (i.e. desire); the ending of the state of the empirical individual. "Of the Yogi whose awareness is firmly established in the fourth state (turya or transcendental state), there is the ending of the state of the empirical individual with the ending of desire."» — sutra III.41 con el desglose y la traducción de Singh; el impreso parte *jivasamksayah* como *jivasamk sayah*.

«"As one who sees certain objects in dream, but does not see them when awake, so the Yogi contemplating over Atma as the sole reality does not see the world (as world)''» — el Kalika-Krama citado por Ksemaraja, con el símil del sueño.

«After realization, the previous experience of the world appears to the yogi as the experience of a dream. Now he sees the world in a different light - as the glory and splendour of Siva.» — nota de Singh sobre cómo queda el mundo tras la realización.

«The concepts of existence and non-existence, different and non-different are the products of the dichotomising activity of the mind, the fabrication of vikalpa.' Freed of this limitation, the yogi sees reality as the background of all mind-made distincts, as lying in the middle of "either-or".» — nota de Singh que sitúa lo real en el medio de las dicotomías.

«Nirvana in this system means Siva-sakti-samarasya; the undifferentiated state of consciousness in which subject-object duality ceases for ever.» — exposición de Singh que define el nirvana dentro de este sistema.

«Bhuta-Kancukl tada vimukto bhuyah patisamah parah One who uses the body of the gross elements as a mere covering; then: liberated: abundantly - pre-eminently;» — sutra III.42 en transliteración con el desglose de Singh; el impreso rinde *Kancuki* como *Kancukl* y el tramo se corta en el cambio de plana.

«"Then i.e. on the ending of desire, he uses the body of gross elements merely as covering and being liberated is pre-eminently like Siva, the perfect reality.» — traducción del sutra III.42 por Singh, ya en la plana 289.

«Thus bhutakancuki means 'one whose gross elements that go to the formation of the body are like kancuka i.e. like separate covering and do not even touch the state of 'I'. Such a one is liberated, is the enjoyer of Nirvana.» — comentario de Ksemaraja al sutra III.42: el cuerpo como funda.

«"When the excellent guru (spiritual director) reveals to the disciple that mystery (of God-Consciousness) in its wholeness, then he (the disciple) is undoubtedly liberated at that very moment and afterwards remains in the body only like a machine.2 How much more then the yogi of supreme understanding! If he is established in the highest Brahman with one-pointedness even for a moment, he is liberated himself and liberates other people."» — el Kularatnamala citado por Ksemaraja, con el símil de la máquina.

«"If one realizes Reality even for the moment of a blink, he is verily liberated immediately and does not acquire another birth." (VIII, 8).» — el Mrtyujit VIII, 8 citado por Ksemaraja.

«"What a glorious eminence of this truth O fair one, if one has even intellectually assimilated it and imparts it to another (lit: to another ear), even that one is liberated instantly."» — el Kulasara citado por Ksemaraja.

«Naisargikah pranasambandhah. natural; the link or association of prana - the universal life force, the universal vital principle. "The link of the universal Life force (with the body) is natural".» — sutra III.43 con el desglose y la traducción de Singh; el tramo cruza el cambio de plana.

«The divine consciousness, with a desire to display the variegated panorama of the universe, at first adopts the principle of contraction, assumes the state of limited experients (jivas) who are a form of pranana - the universal life force which brings about the manifestation of the entire universe in a limited form and also appears in the form of the world as grahya or object.1 This link of prana, therefore, has been initially brought into manifestation by the Absolute, Free Will of the Lord (svatantryat).» — comentario de Ksemaraja al sutra III.43.

«"That Sakti (Divine Power) who is the highest, subtle, .allpervading, absolutely pure, auspicious, mother of the collective whole of saktis, the highest bliss of the nature of immortality, mahaghoresvari2 Canda3 (terrible) brings about both manifestation and withdrawal (of the world process), and she forcibly makes manifest and finally withdraws (prakarsati) Time that expresses itself in the form of the three breath-channels4, (trivaham) in three forms5, (trividham) and in three aspects6, (tristham).» — el Vajasaneya citado por Ksemaraja sobre la Sakti que despliega y retira el tiempo; el impreso parte *all-pervading* al fin de renglón y la extracción lo devuelve unido, con un punto suelto delante.

«"The life-force appears in the individual as prana and apana with the function of exhalation and inhalation. Always imparting life, it exists within one's breast. Since it imparts life, therefore, is it known as prana." (VII, 25).» — el Svacchanda-tantra VII, 25 citado por Ksemaraja.

«So Bhattakallata, in order to confirm the causality of prana has said in Tattvartha-cintamani - "Consciousness is, at first, transformed into prana."» — Ksemaraja cita el Tattvartha-cintamani de Bhatta Kallata.

«The letter ha is indicative of visarga sakti (Creative power). In Sarada script, the letter ha is of the form of a polugh the upper part of which symbolizes exhalation and the lower part symbolizes inhalation. It is constantly and automatically being sounded inwardly in everyone in an anacka (vowel-less) and andhata form (i.e. in the form of unstruck sound).» — nota de Singh sobre la letra *ha* con forma de arado en la escritura Sarada; el impreso rinde *plough* como *polugh*.

«The body cannot perish so long as the link of prana remains. The yogi cannot commit suicide.» — exposición de Singh al sutra III.43, que saca de ahí la imposibilidad del suicidio del yogui.

«Nasika-antarmadhya-samyamat, kimatra, savyapasavya-sausumnesu. orana sakti; centre of the inner consciousness; what is to be said in this matter: left; right; the susumna, the middle nadi. "In all the channels left (ida), right (pingala) and susumna - the middle one, there is prana sakti. By the constant practice of the awareness of Reality that is in the centre of the inner state of prana sakti, there abides the awareness of that central Reality viz., the supreme I-consciousness under all circumstances, and in all conditions."» — sutra III.44 con el desglose y la traducción de Singh; el tramo cruza el cambio de plana.

«The word nasika is derived in the following way - 'nasale* i.e. that which flows in a zigzag way, that is, prana-sakti.» — comentario de Ksemaraja al sutra III.44, con la etimología de *nasika*.

«Samyama here is not to be taken in the technical sense of Patanjali's Yoga which means the threefold practice of dharana, dhyana and samadhi. Here samyama means the intensity of repeated inward awareness.» — nota de Singh que separa este *samyama* del de Patanjali.

«Nirvyutthana samadhi means the ever-present absorption of the mind in the Supreme I-consciousness in the ordinary routine of life even when the yogi is not practising formal contemplation.» — nota de Singh sobre el nirvyutthana samadhi.

«Bhuyah syat pratimllanam. over and over again; there is: awareness of the Divine both inwardly and outwardly. In the case of this yogi there is over and over again the awareness of the Divine both inwardly and outwardly".» — sutra III.45, el último, con el desglose y la traducción de Singh; el impreso rinde *pratimilanam* como *pratimllanam*.

«'Pratimilana'1 means both inward awareness of the Divine (nimilana), and outward awareness of the Divine (unmtlana). He now sees the universe over and over again with an awareness in which the residual traces of difference have completely vanished, (viz. vigalitabhedasamskaratmna).» — comentario de Ksemaraja al último sutra; el tramo cruza el cambio de plana.

«"O Goddess, beyond the samana2, there is the unmana3 stage; one should join one's self to it. The self united with that, completely becomes that very unmana," (IV, 332).» — el Svacchanda-tantra IV, 332 citado por Ksemaraja.

«"Just as kindled fire that has risen pure and radiant from the fuel does not enter it again, even so, the Self that has arisen from the Sadadhva4 freed of all anavamala, (mala) karma mala (karma) and maylya mala (kala) is past all the fret and fever of life.5 Even though still remaining in the world, he is not bound by it i.e. is not attracted towards the pleasures of the world because he is now pre-eminently freed of all the malas (limitations) and abides perfectly pure." (X, 371-372).» — el Svacchanda-tantra X, 371-372 citado por Ksemaraja, con el símil de la llama que no vuelve al leño.

«In saying bhuyah syat (is again) the intention of the sutrakara (composer of the sutras) is this - that the Divinity (Sivahood) of this yogi is not any thing new. It is the very nature of Reality. Only on account of the perversity of one's own thought-constructs brought about by Maya-sakti, the aspirant was not able to recognize it which was there all the while. It is only manifested now by adopting the various means described in this book.» — Ksemaraja cierra el comentario: la divinidad del yogui no es cosa nueva sino la naturaleza misma de lo Real. El impreso parte *Siva-hood* al fin de renglón y la extracción lo devuelve unido.

«Nimilana is that samadhi in which the yogi is completely absorbed inwardly in the supreme I-consciousness. When after coming back to normal consciousness, he turns his attention towards the universe, he experiences the universe also only as an expression of the Divine. This is unmilana samadhi. Having both kinds of experience successively is pratimilana.» — nota de Singh que separa nimilana, unmilana y pratimilana.

«This commentary on the Siva-sutras beautified by its harmony» — arranque del epílogo de Ksemaraja traducido por Singh; el tramo se corta en el reenvío de plana y la frase se completa al otro lado, con la armonía con los agamas saivas y la consistencia con la Spandakarika.

«karika has been written to expound the secret of Saiva yoga.» — cierre del primer verso del epílogo tras el reenvío de plana.

«May the pious ones enjoy fully well, for cutting out the shackles that bind them to worldly existence, the commentary on the Siva Sutras named Vimarsini full of everfresh elixir of immortality trickling down from the teaching about the secret doctrine of Siva.» — segundo verso del epílogo de Ksemaraja.

«This commentary would stimulate the interest of those who are not interested in the doctrine of Siva, would bring about the most excellent transformation of understanding and remove fear of death, old age, birth etc. like a flood of nectar by mere taste of it.» — tercer verso del epílogo, con lo que Ksemaraja espera de su comentario.

«Environed by the body, prana, pleasure etc. due to the limited sense of I-ness, man does not realize the doctrine about one's magnificent divine Self. But he who, owing to this teaching, beholds in the midst of the ocean of (spiritual) awareness the universe as a mass of its foam on all sides is said to be Siva Himself in sooth.» — cuarto verso del epílogo de Ksemaraja, con el universo como espuma sobre el océano de la conciencia.

«This is the the third section, viz. anavopaya of Siva-sutra-vimarsini written by Rajanaka Ksemaraja who is dependent (for his intellectual and spiritual life) on the lotus-feet of (his guru) Mahamahesvara Rajanaka Abhinavagupta.» — colofón de la Vimarsini: Ksemaraja firma como Rajanaka y se declara discípulo de Abhinavagupta; el impreso dobla el artículo en *the the*.

«This Siva-sutra-vimarsini is finished. This work of Ksemaraja, viz., Siva-sutra-vimarsini is meant for the peace and welfare of those who reflect on life in order that they may understand the identity of their Self with Siva.» — última línea del cuerpo: la declaración del fin al que se destina la obra.

«Nadinam means the channels which carry prana, apana etc. Samharah1 means bringing about their dissolution into the middle nadi which is of the form of udana fire2 by the device of pranapana i.e. by stopping their outer and inner flow in order to bring them together in the middle or susumna nadi.» — comentario de Ksemaraja al sutra III.5; las llamadas de nota van pegadas a la palabra en el impreso.

«Mrtyujit says, beginning with "One should give up gross pranayama and even the inner subtle one and thus the highest pulsation of consciousness which is beyond even the subtle pranayama is obtained" and ending with 'enter the highest state with one's mind as a knower" (VIII, 12).» — el Mrtyujit citado por Ksemaraja en el sutra III.21.

«According to Saivagama, the Divine Consciousness is not simply cold, inert intellection. It is rather spanda, active, dynamic, throbbing with life, creative pulsation.» — el catálogo de la contracubierta, al presentar las Spanda-Karikas del propio Singh, enuncia la tesis de la Conciencia Divina como pulsación; es texto editorial de Motilal Banarsidass, no voz del sutra.

«A classical treatise of yoga practices and philosophy according to the Kashmir tradition of Saivism. Vijnanabhairava is a very ancient book on Yoga. It studiously eschews mechanical worship, external rites and ceremonies and goes directly to the heart of the problem of the u n i o n of h u m a n consciousness with the Divine. It describes 112 types of yoga.» — la misma contracubierta nombra la tradición del volumen al presentar el Vijnanabhairava de Singh.

«Siva Sutras are considered to be a revealed book of the Yoga: supreme identity of the individual self with the Divine.» — el texto de contracubierta declara el estatuto revelado de la obra y su asunto, la identidad suprema.

«Dr. Jaideva Singh has studied the book with the help of his guru Swami Laksmana Joo, the sole surviving exponent of this system in Kashmir and has provided an English translation of the Sutras together with the commentary of Ksemaraja.» — la contracubierta nombra la cadena por la que pasa esta traducción: Swami Laksmana Joo como guru vivo del sistema en Cachemira.

«A long introduction, together with an abstract of each Sutra, throws a flood of light on the entire system of Saiva Yoga.» — la contracubierta describe el aparato del volumen.

«Jaideva Singh (1893-1986) was a great scholar in musicology, philosophy and Sanskrit. A former principal of YD. College, Lakhimpur-Kheri, he served as Chief Producer in All-India Radio and among other posts acted as Chairman of U.P. Sangit Natak Academi. He was awarded Padma Bhushan by the Government of India in 1974.» — la solapa biográfica data al traductor y enumera sus cargos; es texto editorial, no firmado por Singh.

«He dedicated the later part of his life to the study with Kashmir Saivism. He published several books in Hindi and English translations of Kashmir Saiva texts, such as Siva-Sutras, Spanda-Karika, Pratyabhijnahrdayam, Vijnanabhairava.» — la misma solapa biográfica adscribe la obra tardía de Singh al saivismo de Cachemira y lista sus traducciones.

«The Siva Sutras are perhaps the most authoritative text of Kashmir Saivism and certainly it is an outstanding treatise on a definite system of philosophy.» — de la sección de reseñas escogidas de la contracubierta, firmada por KS. Ramakrishna Rao en The Hindu (Madras) del 3 de julio de 1979.

«It is pertinendy pointed out that this philosophy is unique in merging the sadhaka to a state of bliss (ananda) completely into the non-dualistic Siva.» — del mismo recorte de Rao; el impreso rinde *pertinently* como *pertinendy*.

«The SIVASUTRAM is a highly respected treatise of Kashmir Saivism. It contains the highest truth as expounded by Lord Siva.» — de la bendición que firma Swami Muktananda al frente del volumen.

«One can attain the truth by just understanding the meaning of the sutras.» — Muktananda, en la misma bendición, enuncia la suficiencia del entendimiento del sutra.

«Sri Jaideva Singh has done a great service to seekers by translating Sivasutra Vimarsinl into English.» — Muktananda cierra su bendición situando el servicio de la traducción; el impreso rinde *Vimarsini* como *Vimarsinl*.

«A new interpretation should always be welcome, but when it goes against the very spirit and tradition of the system, it becomes a pernicious procedure.» — Singh, en el prefacio, fija el criterio con que juzga las traducciones previas.

«To cite one instance, the 5th sutra of the first section is worded as 'udyamo Bhairavah'. The word udyama has been translated as 'exertion'. The first section deals with Sambliava-upaya, Even the veriest tyro of Saivagarna knows that Sambhava upaya has nothing to do with exertion, and so 'udyama' does not and cannot mean exertion in this context.» — Singh da en el prefacio su única instancia razonada contra las traducciones que le señaló su guru: *udyama* no es esfuerzo porque la primera sección trata del Sambhavopaya; el impreso rinde *Sambhava* como *Sambliava* y *Saivagama* como *Saivagarna*.

«Even the structure and grammar of the Sanskrit language have been twisted and tortured to yield certain pre-conceived meanings. Such preposterous translation is, to say the least, a literary crime.» — Singh califica en el prefacio el procedimiento de esas traducciones.

«So I studied the text word by word with the help of Acarya Rameshvara Jha who is a great Sanskrit scholar and fully conversant with Saivagarna.» — Singh nombra en el prefacio a su primer auxiliar sánscrito.

«So I approached my old Guru, Svami Laksrnana Joo of Kashmir who, in spite of his old age and a heavy schedule of engagements with a number of scholars who had gathered round him, kindly agreed to help. He taught me the sutras together with the commentary of Ksemaraja and gave luminous exposition of» — Singh declara la enseñanza oral de la que sale su versión; el impreso rinde *Laksmana* como *Laksrnana*.

«Ksemaraja, in the introductory portion of his commentary, says that since many incongruous expositions had been given by the commentaries extant in his time, he undertook to write a new commentary in due conformity with the old tradition.» — Singh resume el motivo que Ksemaraja se da a sí mismo para comentar de nuevo.

«Four commentaries on Siva-sutras are available at present, the Vimarsinl commentary of Ksemaraja in prose, the Siva-sutra-vrtti by some anonymous author in prose, the Siva-sutra-varttikam by Bhaskara in verse, and the Siva-sutra-varttikam by Varadaraja in verse.» — Singh enumera en el prefacio los cuatro comentarios sobrevivientes.

«The Siva-sutra-vrtti is so close to Vimarsinl that it appears to be either a preliminary draft or a later abstract of the Vimarsinl. There is a strong presumption that the author of the Vrtti was Ksemaraja himself.» — Singh consigna la presunción sobre la autoría del Vrtti sin cerrarla.

«The Varttikam by Bhaskara is an independent commentary. He differs at places from Ksemaraja. I have indicated this in my notes or exposition wherever necessary.» — Singh señala que Bhaskara discrepa de Ksemaraja y declara dónde registra esas diferencias.

«Ksemaraja's commentary is so detailed and scholarly that it has practically elbowed every other commentary out of existence. I have, therefore, duly followed Ksemaraja in my exposition.» — Singh declara por qué sigue a Ksemaraja y no a los otros tres comentaristas.

«For me, this work has been a labour of love, without any financial and secretarial assistance whatsoever. My great Guru, MM. Gopinath Kaviraja passed away before the work could be completed.» — Singh cierra el prefacio con las condiciones materiales del trabajo y la muerte de su guru.

«The Saiva system of Philosophy and Yoga is generally known as Agama. The word Agama means a traditional doctrine or system which commands faith.» — Singh abre la introducción nombrando el sistema por su género, Agama, y define la palabra.

«The Saiva system,, in general, is known as Siva-sasana or Sivagama, The non-dualistic Saiva system of Kashmir is known as Trika-Sasana or Trika-sastra or Rahasya-sarnpradaya.» — Singh da los nombres propios del sistema saiva general y del no dualista de Cachemira; el impreso dobla la coma en *system,,* y rinde *sampradaya* como *sarnpradaya*.

«A Sastra or Sasana in India never meant merely an intellectual exposition of a particular system. It certainly expounded the fundamental principles of reality but at the same time laid down on the basis of the principles certain rules, certain norms of conduct which had to be observed by those who studied the particular Sastra. A Sastra was not simply a way of thought but also a way of life.» — Singh acota qué significa sastra: no exposición intelectual sino reglas de conducta.

«The literature of the Trika system of Kashmir falls into three categories, viz., (1) the Agama Sastra, (2) the Spanda .Sastra and (3) the Pratyabhijna Sastra.» — Singh reparte la literatura del Trika en tres categorías.

«Agama Sastra is considered to be revelation by Siva. It lays down both the principles and practices of t h e system.» — Singh declara el estatuto del Agama Sastra dentro del reparto.

«Among the works belonging to the Agama category may be mentioned the following Tantras. Malinivijaya or Malinivijayottara, Svacchanda, Vijnana Bhairava, Mrgendra, Netra, Rudra-Yamala, Siva-Sutras, etc.» — Singh enumera los Tantras del grupo Agama.

«Most of these taught generally the dualistic doctrine. The most important Agama of the Trika system was known as the Siva-Sutras.» — Singh separa a los Siva-Sutras del resto del grupo por su doctrina.

«The importance of this work consists in the fact that it was revealed to counter the effects of dualism.» — Singh da el motivo de la revelación de los sutras; la llamada de nota 1 va pegada a *dualism* en el impreso.

«1. Kallata in the Spanda-vrtti says that Siva taught the Siva-Sntras in a dream to Vasugupta who was living on Mahadeva mountain in the valley of the Harvan stream behind the Shalimar garden near Srinagara.» — primera de las tres teorías de la revelación que Singh consigna, con el sitio geográfico; el impreso rinde *Sutras* como *Sntras*.

«2. Bhaskara says in his Varttika on the Siva-Sutras that they were revealed to Vasugupta in a dream by a Siddha - a perfected semi-divine being.» — segunda teoría: un Siddha y no Siva.

«The particular rock is still called Samkaropala, and it is said that the Sutras were inscribed on it. (See the plate No. 1). The rock is there, but there is no trace of the sutras.» — Singh consigna el estado presente de la roca y la ausencia de las inscripciones, sin armonizarlo con la teoría.

«We know from Rajatarangini that Kallata flourished in the reign of king Avanti-Varman of Kashmir, Avanti-Varman reigned in the 9th Century A.D.» — Singh fecha por el Rajatarangini el eslabón del que deduce la data del descubrimiento.

«Bhaskara says in the introductory portion of his Varttika that Vasugupta taught the Siva-Sutras to Kallata who taught them to Pradyumnabhatta, the son of his maternal uncle. Pradyumnabhatta taught them to his son Prajnarjuna. Prajnarjuna taught them to a pupil, Mahadevabhatta who in turn taught them to his son, Srikanthabhatta. Bhaskara himself learned the sutras from Srikanthabhatta.» — Singh reproduce la cadena de transmisión que declara Bhaskara, de Vasugupta a Srikanthabhatta.

«The author of the Vrtti is not known. The commentary vrtti tallies with Vimarsini not only in interpretation but also mostly in words. It appears that either the Vrtti was written at first and was used by Ksemaraja as a framework for elaboration or that Vimarsini was written at first and either Ksemaraja himself or some one else prepared an abstract of it in the Vrtti.» — Singh deja abierta la relación entre el Vrtti y la Vimarsini, con las dos hipótesis enunciadas.

«interpretation by giving parallel and valuable quotations from other books some of which are now completely lost to us.» — Singh señala el valor documental de la Vimarsini: conserva citas de obras perdidas. El tramo empieza en la plana 19 porque la frase arranca al final de la 18, y span() se corta en el cambio de plana.

«Ksemaraja was a prolific writer. He wrote the following works: Pratyabhijnahrdayam, Spandasandoha, Spandanirnaya, Svacchandoddyota, Netroddyota, Vijnanabhairavoddyota, Siva-sutra-vimarsini, Stavacintamanitika, Parapravesika, Tattvasandoha, Utpala's Stotravalitika.» — Singh lista las obras de Ksemaraja.

«The Varttika of Varadaraja is only a rehash of the Vimarsini in Verse. Varadaraja has no interpretation of his own to give. He lived towards the end of the 15th Century A.D.» — Singh data y califica el cuarto comentario.

«Ksemaraja thinks that the Spanda-Sutras were written by Vasugupta. Others maintain that they were written by Kallata, the pupil of Vasugupta.» — Singh consigna el desacuerdo sobre la autoría de los Spanda-Sutras sin arbitrarlo.

«The Pratyabhijna-sutras acquired so much importance that the whole philosophy of Kashmir is generally known as Pratyabhijna-darsana.» — Singh explica de dónde viene el otro nombre propio con que se conoce la filosofía de Cachemira.

«Besides the above, there is the great work known as Tantraloka by Abhinavagupta. It is in 12 volumes and contains the Saiva philosophy and practice in all their aspects.» — Singh sitúa el Tantraloka de Abhinavagupta dentro del mismo racimo.

«Siva-sutras are a treatise on Yoga, but this Yoga is based on a definite system of Philosophy. It will not be possible to understand this yoga unless there is a clear grasp of the philosophy on which it is based.» — Singh declara de qué clase de obra se trata y por qué antepone una exposición filosófica.

«Ultimate Reality is cit or Parasamvit. It is non-relational consciousness. It is the changeless principle of all changes. In it, there is no distinction of subject and object, of I and This. It is the Supreme Self surveying Itself.» — Singh enuncia la Realidad Última del sistema en la introducción.

«In the words of Pratyabhijna Sastra, it is prakasa-vimarsamaya. Prakasa is the Eternal Light without which nothing can appear. It is Siva. Vimarsa is Sakti, the svabhava of Siva. It is, so to speak, the mirror in which Siva realizes His own grandeur, power and beauty. Vimarsa is the Kartrtva Sakti (the power of doership) of Siva.» — Singh da el par prakasa-vimarsa con su reparto entre Siva y Sakti.

«Mere Prakasa cannot be the nature of Reality. Even diamond is prakasa, but the diamond does not know itself as prakasa. Vimarsa is that aspect of prakasa by which it knows itself. That self-knowledge is an activity. Vimarsa betokens that activity.» — Singh argumenta por qué la luz sola no basta, con el ejemplo del diamante.

«Ksemaraja rightly says, "Yadi nirvimarsah syat anisvaro jadasca prasajyeta" (Parapravesika, p. 2) i.e. "If Ultimate Reality were merely prakasa and not also vimarsa, it would be entirely powerless and inert."» — Singh cita el Parapravesika de Ksemaraja en transliteración y con su traducción.

«Cit is conscious of itself as Cidrupini sakti. This consciousness of itself as Cidrupini sakti is Vimarsa. Vimarsa has been named variously as parasakti, svatantrya, aisvarya, Kartrtva, sphuratta, sara, hrdaya, spanda.» — Singh enumera los nombres del Vimarsa según el Parapravesika.

«It is because Sankara Vedanta considers Brahman to be only prakasa or jnana (light or illumination) without any vimarsa or activity that it has to invoke the help of Maya for the manifestation of the universe.» — Singh opone el sistema a la Vedanta de Sankara: sin vimarsa, el Brahman necesita de Maya para manifestar.

«If it is some power extraneous to Brahman or Isvara, then Sankara Vedanta is reduced to dualism. If Maya is only an expression of the power of Brahman, then Brahman cannot be divested of activity.» — Singh plantea la disyuntiva que le objeta a la Vedanta de Sankara sobre el estatuto de Maya.

«Both Sankhya and Vedanta consider the Purusa or Atma to be niskriya or inactive, because they take the word 'activity' in a very crude sense.» — Singh niega el sentido tosco de *actividad* que atribuye a Sankhya y Vedanta.

«Svatantrya or unimpeded Sovereignty is the characteristic par excellence of Siva. It expresses itself into Ichha (will) which immediately translates itself into jnana (knowledge) and kriya (action).» — Singh define la Svatantrya como rasgo propio de Siva y su despliegue en iccha, jnana y kriya.

«Universal Consciousness is also called Anuttara, the Highest Reality, the Absolute. It is both transcendental (visvottirna) and immanent (visvamaya).» — Singh cierra el apartado de la Realidad Última con los dos predicados, trascendente e inmanente.

«It is the svabhava or very nature of Ultimate Reality to manifest. Creativity is of the very essence of Divinity. If Ultimate Reality did not manifest, it would not be Self or consciousness, but not-Self, something like a jar.» — Singh deriva la manifestación de la naturaleza misma de lo Último.

«"If the Highest Reality did not manifest in infinite variety, but remained cooped up within its solid, singleness, it would neither be the Highest Power nor Consciousness, but something like a jar."» — Singh traduce el Tantraloka III, 100 de Abhinavagupta como apoyo de esa derivación.

«"As the great banyan tree lies only in the form of potency in the seed, even so the entire universe with all the mobile and immobile beings lies as a potency in the heart of the Supreme."» — Singh traduce el símil del baniano de la Paratrimsika, 34; el impreso rinde el título como *Paratnmsika*.

«Parama Siva has infinite powers, but the following may be considered to be the main ones: 1. Cit - the power of Self-revelation, the changeless principle of all changes.» — Singh abre la lista de los cinco poderes de Parama Siva por el Cit.

«2. Ananda or Absolute bliss. This is also called svatantrya, In this aspect, the Supreme is known as Sakti. Cit and ananda are the very svarupa or nature of Pararna Siva. The rest may be considered to be His Saktis. 3. Iccha or Will. In this aspect, He is known as Sadasiva or Sadakhya. 4. Jnana or knowledge. In this aspect, He is known as Isvara. 5. Kriya - the power of assuming any and every form.» — Singh reparte los cinco poderes entre los nombres divinos: Sakti, Sadasiva, Isvara, Sadvidya. El impreso rinde *Parama* como *Pararna*.

«The Universe is simply an opening out (unmesa) or expansion (prasara) of the Supreme as Sakti.» — Singh define el universo como despliegue y no como obra ajena a lo divino.

«Sakti tattva is the Energy of Siva. She polarizes Consciousness into Aham and ldam (I and This) - Subject and object. Sakti, however, is nothing separate from Siva. Siva in his creative aspect is known as Sakti.» — Singh describe el Sakti tattva como polarización de la conciencia en Aham e Idam, sin separación real.

«Just as an artist cannot contain his delight within himself, but pours it out into a song, or a poem, even so Parama Siva pours out the delightful wonder of His splendour into manifestation.» — el símil del artista con que Singh explica el desbordamiento creador.

«The will (Iccha) to affirm the 'This' side of the Universal Experience is known as sadasiva or Sadakhya tattva. In Sadasiva, Iccha (Will) is predominant. The experience of this stage is 'I am this', but the 'this' is only a hazy (asphuta) experience. The predominant side is still 'I'.» — Singh fija la experiencia propia del Sadasiva tattva.

«The experience of Sadasiva is 'I am this'. The experience of Isvara i s : 'This am I.'» — Singh contrapone en una línea las dos experiencias, la de Sadasiva y la de Isvara.

«In the Sadvidya tattva, the 'I' and the 'This' side of experience are equally balanced like the two pans of an evenly held balance (samadhrtatulaputanyayena). At this stage, kriya sakti is predominant. The 'I' and 'This' are recognized in this state with such equal clarity that while both 'I' and 'This' are still identified, they can be clearly distinguished in thought.» — Singh describe el equilibrio del Sadvidya tattva con el símil de la balanza.

«Now begins the play of Maya tattva. From this stage onward, there is Asuddhddhva or impure order in which the higher, ideal nature of the Divine is veiled.» — Singh marca el paso del orden puro al impuro con la entrada de Maya.

«Maya is derived from the root 'ma', to measure out. That which makes experience measurable i.e. limited, and severs the 'This' from 'I' and 'I' from 'This' and excludes things from one another is Maya.» — Singh da la etimología de Maya y su función de medir y separar.

«Maya draws a veil (avarana) on the Self owing to which he forgets his real nature, and thus Maya generates a sense of difference.» — Singh describe el velo de Maya como olvido de la propia naturaleza.

«The products of Maya are the five Kancukas or coverings. Their functions are given below: (i) Kala. This reduces the sarvakartratva (universal authorship) of the universal Consciousness and brings about limitation in respect of authorship or efficacy.» — Singh abre la lista de las cinco kancukas por Kala, la que limita la autoría universal.

«(v) Niyati. This reduces the freedom and pervasiveness (svatantrata and vyapakatva) of the Universal consciousness and brings about limitation in respect of cause, space, and form.» — Singh cierra la lista de kancukas con Niyati.

«It is interesting to note that the Trika Philosophy of Kashmir had anticipated the German philosopher Kant a thousand years before in the analysis of experience.» — Singh coloca la filosofía Trika frente a Kant; es comparación suya, no del sutra.

«Trika or Pratyabhijna philosophy maintains that the experience of the empirical individual is constituted by Maya together with her Kancukas of Kala, vidya, raga, kala and niyati.» — Singh enuncia la tesis Trika sobre la constitución de la experiencia del individuo empírico.

«Kant's theory is confined only to episternology. Kant has formulated his theory only with reference to knowledge. Pratyabhijna has formulated its theory both with referene to knowledge and activity.» — Singh marca el límite que le atribuye a Kant frente a Pratyabhijna; el impreso rinde *epistemology* como *episternology* y *reference* como *referene*.

«Kant maintained that there are two sources of knowledge - matter and form. Matter is provided by Nature and form is imposed on it by mind. Thus there is dualism in Kant's philosophy.» — Singh atribuye dualismo a Kant por el reparto entre materia y forma.

«So both matter and form of knowledge arise from Maya and Maya arises from Siva-Sakti. Thus there is unmitigated non-dualism in Pratyabhijna.» — Singh deriva el no dualismo de que Maya misma venga de Siva-Sakti.

«Pratyabhijna philosophy also maintains that the knowledge of the highest Reality can be obtained only through sadhana (spiritual praxis) - through anava, sakta and sambhava upaya.» — Singh sostiene que el conocimiento de la Realidad más alta solo se obtiene por sadhana, y nombra los tres upayas.

«Siva through Mayasakti which limits His universal knowledge and power becomes Purusa or the individual subject. Purusa in this context means every sentient being.» — Singh define el Purusa como Siva limitado por Mayasakti.

«The word anu is used in the sense of limitation of the divine perfection.» — Singh explica el término anu dentro del sistema.

«one and universal for all the Purusas. Trika believes that each Purusa has a different Prakrti. Prakrti is the matrix of all Objectivity.» — Singh consigna la divergencia entre Sankhya y Trika sobre la unicidad de Prakrti; el tramo arranca a media frase porque la anterior empieza al pie de la plana 27 y span() se corta en el cambio de plana.

«According to Pratyabhijna, Prakrti is the Santa Sakti of Siva, and the gunas sattva, rajas and tamas are only the polarization of His saktis of jnana, iccha and kriya respectively. Thus in the Pratyabhijna system, there is perfect non-dualism, not dualism of Prakrti and Purusa, as in Sankhya.» — Singh resuelve los tres gunas en las saktis de Siva y con eso niega el dualismo de Sankhya.

«Antahkarana means the inner instrument, the psychic apparatus of the individual. It consists of the tattvas - buddhi, ahamkara, and manas.» — Singh define el antahkarana y sus tres tattvas.

«The indriyas are not sense-organs but powers which operate through the sense-organs.» — Singh distingue los indriyas de los órganos.

«Literally tanmatra means 'that only'. These are the general elements of the particulars of sense-perception.» — Singh traduce tanmatra y lo sitúa como elemento general de la percepción.

«Caitanya or Siva forms the very core of the being of every individual. It is his real Self.» — Singh enuncia la identidad del núcleo individual con Siva.

«These three together with the five tanmatras form a group of eight known as puryastaka. This, according to Trika, forms the subtle body (suksma-sarira) in which the soul leaves the body at the time of death.» — Singh describe el puryastaka como cuerpo sutil que persiste tras la muerte, según el Trika.

«In each individual, there is Kundalini which is a form of Sakti and lies dormant at the base of the spine.» — Singh sitúa la Kundalini en cada individuo.

«There is, however, a fourth state of consciousness, known as turiya. This is the consciousness of the central Self or Siva in each individual, This is a witnessing consciousness of which the individual is normally not aware.» — Singh define el turiya como conciencia testigo del Sí mismo central.

«When by yogic practices, his mind becomes deconditioned, then he attains the turiya consciousness, and becomes a jivan-mukta i.e. liberated while still alive.» — Singh liga el desacondicionamiento de la mente a la liberación en vida.

«The bondage of the individual is due to innate ignorance or anava mala. It is this primary limiting condition which reduces the universal consciousness to an anu or a limited creature.» — Singh define la atadura por el anava mala.

«Karma mala is the limiting condition brought about by the vasanas or residual traces of actions done under the influence of desire. It is the force of these vasanas that carries the jiva from one life to another.» — Singh describe el karma mala y su papel en la transmigración.

«Liberation, according to the system, means the recognition (pratyabhijna) of one's true nature which means akrtrima-aham-vimarsa - the original, innate, pure I-consciousness.» — Singh define la liberación como pratyabhijna, reconocimiento de la propia naturaleza.

«The highest attainment, however, is that of Siva-consciousness in which the entire universe appears as I or Siva and this comes by Saktipata - the descent of Divine Sakti or anugraha (Divine grace).» — Singh distingue la liberación del logro más alto, que depende del Saktipata.

«The prefix 'an' in anupaya in this context means 'little'. When through extreme Saktipata, only by once hearing a word from the guru (the spiritual director), the aspirant realizes the real Self and gets absorbed in the divine consciousness without any particular effort, one is said to have attained Self-realization through anupaya.» — Singh define el anupaya como realización sin esfuerzo por una sola palabra del guru.

«Siva-sutra is a text on Yoga. It leaves anupaya, for it refers to a stage in which Self-realization is achieved without any specific Yoga.» — Singh explica por qué los sutras dejan fuera el anupaya.

«"Even innumerable means cannot reveal Siva. Can a jar reveal the Sun? Pondering thus, one with a lofty vision gets absorbed immediately in Siva who is Self-luminous."» — Singh traduce a Abhinavagupta sobre la inutilidad de los medios ante lo autoluminoso.

«The book has three sections - In the first Section, it gives a description of Sarnbhavopaya, in the second of Saktopaya, and in the third of Anavopaya.» — Singh declara el reparto de las tres secciones del libro; el impreso rinde *Sambhavopaya* como *Sarnbhavopaya*.

«Caitanya in this system does not mean merely consciousness. It means consciousness which has the absolute freedom of will, knowledge and action.» — Singh acota el sentido de caitanya en este sistema, con la libertad absoluta dentro.

«The answer is that the bondage of the empirical individual is due to anava, mayiya, and karma malas or limiting conditions. Anava mala is an innate, limiting condition which is the primal ignorance of our essential nature as Siva.» — Singh responde a la objeción sobre por qué los seres no gozan de la dicha de Siva.

«Ajnana or primal ignorance does not mean total absence of knowledge but limited and vitiated knowledge.» — Singh acota que ajnana no es ausencia de conocimiento sino conocimiento viciado.

«The first stage is svarupa-nimesa or svarupa-gopana or veiling of His essential nature. This is the stage of the involution of the Divine into inconscient gross matter. This is the arc of descent.» — Singh nombra el arco de descenso del drama cósmico.

«Now begins the process of evolution, of the play of life and mind. It is only at the stage of man that the question of recognizing one's essential Divine nature arises. And it is for this recognition (pratyabhijna) that there is provision for yoga or spiritual praxis.» — Singh sitúa en el hombre la posibilidad del reconocimiento.

«The three kinds of malas or limited, vitiated knowledge are rooted in words which have a tremendous influence on our lives. These are formed of letters which are known as Matrka.» — Singh enraíza los tres malas en las palabras y sus letras.

«Matrka means unknown, unrealized mother. So long as the mystery of Matrka is not realized, she is a source of bondage or limitation. When her mystery is realized, she becomes the source of liberation.» — Singh da el doble filo de la Matrka, atadura o liberación según se realice su misterio.

«Udyamah in this context does not mean exertion. There can be no question of exertion in Sambhava Yoga. It is known as icchopaya or iccha-yoga. It occurs by a mere orientation of the Will.» — Singh niega en la introducción el sentido de esfuerzo para udyama, como en el prefacio.

«It is also known as abhedopaya, a yoga in which there is complete identification of 'I' and Siva, in which the idea of the so-called 'I' which is only a psycho-physical complex, a mere nama-rupa disappears and Siva alone is experienced as the real I, as the real Self.» — Singh da los otros nombres del Sambhava yoga y su contenido.

«This is a yoga in which there is no active process either of body or prana or manas or buddhi. Obviously udyama cannot mean exertion or discipline in this context.» — Singh cierra el argumento contra *exertion* por la ausencia de todo proceso activo.

«Malinivijaya puts Sambhava upaya in the following words: "That is said to be Sambhava-samavesa (absorption in Siva-consciousness) which occurs to one who has freed himself of all ideation by an awakening imparted by the guru (the spiritual director) or by an intensive awakening (of his own)."» — Singh traduce la definición del Malinivijaya, donde el despertar viene del guru o del propio aspirante.

«It is Siddha, an everpresent Fact, not sadhya, not something to be brought into being by our efforts. It cannot be caught by our vikalpa-jala, by the net of our thought constructs, however cleverly we may cast it.» — Singh niega que la Realidad se alcance por esfuerzo: es un hecho siempre presente y no algo por producir.

«We are prisoners of our own mind. Thought has to commit suicide in order to know our real Self, the Siva within ourselves.» — la formulación con que Singh enuncia la condición del vikalpa.

«Vikalpa 'like a dome of coloured class stains the white radiance of eternity'. When vikalpa ceases, the transcendental Self within us shines of itself.» — Singh mete en su exposición un verso inglés sobre la cúpula de vidrio de colores, sin nombrar la fuente; la capa de texto imprime *class* donde el verso dice *glass*.

«Mr. J. Krishnamurti, a modern Yogi uses these very words (neither accept, nor reject) and calls it choiceless awareness, an awareness which is not of thought. Awareness is not thought. Awareness is not discipline, not habit. It cannot be practised. It is alertness from moment to moment.» — Singh acerca el abhedopaya a la *choiceless awareness* de Krishnamurti; la comparación es suya y no del sutra.

«We find parallel attitudes to Sambhava Yoga in 'wu-wei (noninterference) of Taoism, 'let-go' of Zen, and choiceless awareness of Krishnamurti.» — Singh alinea el Sambhava Yoga con el wu-wei taoísta y el *let-go* del zen; el paralelo es suyo. El impreso escribe *non-interference* partido al fin de renglón y la extracción lo devuelve unido.

«In the third section of his Tantrasara, Abhinavagupta says that in Sambhavopaya, iccha sakti may be re-infoced by jnanasakti, by realizing that the entire universe of objective and subjective entities abides in the essential Self as its reflection.» — Singh trae del Tantrasara el refuerzo de la iccha sakti por la jnana sakti.

«Krishnamurti, a modern mystic who has not read any Sanskrit book speaks of this experience in almost these very words on page 211 of his book, "The First and Last Freedom."» — Singh declara la coincidencia verbal con Krishnamurti y da página y título del libro.

«He calls unmesa the creative moment. It is not thought, but a flash of Understanding. Unmesa literally means opening of the eye-lid i.e. uncovering, Self-revelation.» — Singh traduce unmesa literalmente y lo identifica con el momento creativo.

«Anava and Sakta upayas are only paramparika i.e. leading to realization through successive stages - anava upaya leading to Sakta and Sakta leading to Sambhava upaya.» — Singh ordena los upayas como escalones sucesivos hacia el Sambhava.

«Sambhava upaya is a special feature of Saivagama. There is no such yoga either in Vedanta or Patanjala yoga. The jnana-yoga of Vedanta corresponds somewhat to Sakta upaya and Patanjala yoga corresponds to a part of anava-upaya. Sambhava yoga is unknown to these systems.» — Singh reclama el Sambhava upaya como rasgo propio del Saivagama frente al Vedanta y al yoga de Patanjali, y hace corresponder el jnana-yoga vedántico con el Sakta upaya.

«Later on, the word Sahasa was employed by Vatulanatha of Kashmir to express the idea of Sambhava yoga and anupaya. The word Sahasa means sudden, unexpected happening.» — Singh consigna el término Sahasa de Vatulanatha para el mismo asunto.

«The ultimate aim of both Samkhya-yoga and Vedanta is mukti (liberation). By mukti, both of them understand Kaivalya, perfect isolation or Soleness, the only difference being that Samkhya-yoga aims at isolation from Prakrti while Vedanta aims at isolation from Maya.» — Singh sitúa el fin de Samkhya-yoga y de Vedanta en el kaivalya, y distingue de qué se aísla cada uno.

«According to Samkhya-Yoga, Self or Purusa is saccit (existence-consciousness) and there is nothing higher than Purusa. According to Vedanta, Self or Atma is Saccidananda (existence-consciousness-bliss) and is identical with Brahman.» — Singh contrasta las dos nociones de Sí mismo, la de Samkhya-Yoga y la vedántica.

«The ultimate aim of Saivagama is not simply mukti or Self-realization but Sivatva-yojana acquiring the status of Siva. In the words of Saivagama, the ultimate ideal is not merely Atma-vyapti but Siva-vyapti.» — Singh fija el fin declarado del Saivagama por encima de la mera liberación.

«In Vedanta, Self is merely jnana devoid of any activity whatsoever. In Saivagama, Self is characterized by both jnana and kriya.» — Singh contrapone la noción vedántica del Sí mismo a la del Saivagama por la presencia de kriya.

«In Vedantic liberation, Maya disappears and along with it goes the wretched universe which was only a fiction conjured up by her. In Siva-vyapti, the universe appears as a magnificent expression of Siva's - one's own - Sakti.» — Singh contrapone el destino del universo en la liberación vedántica y en el Siva-vyapti.

«Both in Samkhya-Yoga and Vedanta, the citta or mind reverts to its causal matrix, the Prakrti at the time of liberation. Patanjala yoga has a special word for this reversion, viz; pratiprasava which means reabsorption, remergence (into Prakrti). The defiling buddhi or citta has to withdraw into its primal cause. It is only then that Purusa can shine in his pristine, inherent glory. The citta can never be allowed to enter the sacred precincts of Purusa. It is an alien and has to be repatriated to its original home.» — Singh describe el destino del citta en Samkhya-yoga y Vedanta, con el pratiprasava de Patanjali.

«Saivagama which is undiluted advaita (non-dualism) has, however, a word of cheer even for the poor citta. According to it, the citta of the self-realized person becomes regenerated, transformed, transfigured into Cit (the Universal Divine» — Singh declara el destino distinto del citta en el Saivagama; el tramo se corta en el cambio de plana y sigue con *Consciousness*.

«The following lucid commentary of Ksemaraja on this sutra deserves to be carefully pondered over: "The citta giving up the limiting tendency of extroversion, becoming introverted, rises to the status of cetana i.e. to the status of the knowing subject, when by the dissolution of the aspect of limitation and attaining its real nature, it becomes citi. That is to say, it now enters its highest stage of cit."» — Singh traduce el comentario de Ksemaraja al sutra 13 del Pratyabhijnahrdayam sobre el ascenso del citta.

«Citta is not an alien in this system. Sutra 5 of Pratyabhijnahrdayam says clearly: "Citi (universal consciousness) itself, descending from the stage of Cetana (knower) becomes citta (individual consciousness), inasmuch as it becomes contracted in conformity with the objects of consciousness."» — Singh traduce el sutra 5 del Pratyabhijnahrdayam sobre el descenso de citi a citta.

«In involution (avaroha, nimesa) citi becomes citta; in the highest stage of evolution (adhyaroha, unmesa) citta attains its real nature and becomes citi again.» — Singh cierra el doble movimiento de involución y evolución.

«That Reality is not something to be achieved, but uncovered. But the crux of the problem is how to make the vikalpaful mind retire. Abhinavagupta says, "When there is vikalpa, neither accept, nor reject, it will retire of itself and you will find yourself to be what you are."» — Singh traduce a Abhinavagupta sobre cómo se retira el vikalpa sin combatirlo.

«This Sambhava upaya is, in one sense, the simplest, in another, the most difficult. It is simplest, because no particular effort or discipline is needed for it. It is most difficult, because vikalpamaking is the habit, the very life of citta or mind. In attempting to be vikalpa-free, the mind begins to make all kinds of Vikalpa. To try to become vikalpa-or thought-free is like trying to jump out of our own skin. It is given to very few mortals to be vikalpa-free.» — Singh declara la dificultad práctica del Sambhava upaya con el símil de saltar fuera de la propia piel; el impreso escribe *vikalpa-making* partido al fin de renglón y la extracción lo devuelve unido.

«Mahahrada denotes mahasakti, anusandhana means close (mental) examination with a view to union, mantraviryanubhavah. means experience of the virility of mantra.» — Singh desglosa las tres palabras del sutra I.22 que sirven de puente a la segunda sección.

«In Saktopaya, one has to resort to cit-iakti or Vimarsa-sakti (the Divine I-consciousness) for realization. Therefore, this is called Saktopaya. Saktopaya is also known as Sakta yoga, jnanopaya, jnanayoga, bhavanopaya, mantroadya.» — Singh nombra la vía de la segunda sección y sus sinónimos; el impreso rinde *cit-sakti* como *cit-iakti* y *mantropaya* como *mantroadya*.

«There is, says Saktopaya. Catch hold of one suddha vikalpa. That will prove to be a veritable boat by which we can cross the turbulent waters of phenomenal existence and safely land on the certain ground of our noumenal Reality.» — Singh da la salida del Saktopaya con el símil de la barca.

«"People consider themselves bound on account of (asuddha) vikalpa. This wrong conception of theirs about themselves becomes the cause of their being bound in transmigratory existence. Therefore when an opposite vikalpa arises, it dispels the vikalpa that is the cause of transmigratory existence and thus becomes the cause of their elevation."» — Singh traduce el Tantrasara de Abhinavagupta sobre el vikalpa opuesto que desbanca al primero.

«Asuddha vikalpa means the idea about the usual, psychological, empirical self.» — Singh define el vikalpa impuro.

«"That which is unlimited consciousness transcending all limited expressions of Reality from earth right up to Siva, that alone is the highest Reality; that am I. Therefore I am both transcendent to and immanent in the universe."» — Singh traduce del Tantrasara la fórmula del vikalpa puro.

«With regard to the first question, Saiva philosophy says categorically that the highest Reality cannot be brought within the province of vikalpa.» — Singh consigna el límite: la Realidad más alta no entra en el vikalpa.

«"The highest reality is everywhere and in every way Self-luminous. Vikalpa can neither help nor hinder it."» — Singh traduce el Tantrasara sobre la indiferencia de lo Real al vikalpa.

«The utility of suddha vikalpa is in removing the sense of duality. What is this sense of duality? Abhinavagupta says, (Tantrasara p. 24)" The sense of duality is nothing else. It is only the ignorance of one's essential nature.» — Singh fija la función negativa del vikalpa puro.

«There is also a positiye function of Suddha vikalpa. It works in three ways (1) by mantra-sakti (2) by sat-tarka leading to bhavana and finally by (3) suddha vidya. These are distinct but not different. All these are inter-connected.» — Singh reparte en tres la función positiva del vikalpa puro; el impreso rinde *positive* como *positiye*.

«The word mantra consists of two syllables - man and tra. The syllable man means to reflect, to be aware; the syllable tra means that which saves.» — Singh desglosa la etimología de mantra.

«Every mantra consists of certain syllables. Muttering of the syllables mechanically is of no avail. The aspirant must identify himself with the deity invoked in the mantra.» — Singh niega valor a la repetición mecánica del mantra.

«Purnahanta or the full I-consciousness of Siva which is His Vimarsa sakti - the creative pulsation of the Divine is the source of all the mantras. Every mantra leads back to that divine I-consciousness which is the creative sakti of the Supreme.» — Singh remonta todos los mantras a la Purnahanta como fuente.

«"When an aspirant with one-pointedness of mind, apprehends that Reality which is not within the range of utterance (gross or subtle), and thus obtains samavesa (absorption in divine consciousness), then that samavesa is known as sakta.» — Singh traduce la definición del Malinivijaya para el samavesa sakta.

«It is paravak also known as parasakti, parahanta, vimarsa-sakti, purnaham-vimarsatmikasamvit-sakti, matrka etc. It is the I-consciousness of the Divine which is above all thought and speech, which is the primal creative pulsation that brings the universe into being, the origin of all words and objects and yet above words.» — Singh identifica la Realidad fuera del alcance del habla con paravak y le da sus otros nombres; el compuesto *purnaham-vimarsatmika-samvit-sakti* va partido al fin de renglón y la extracción pierde ese guion.

«In the order of manifestation the next stage after paravak is that of pasyantl. At this stage, word and object are an undivided, indistinguishable whole. The next stage is that of madhyama. Though the division between word and object has started, at this stage it is not pronounced yet. It is implicit. The division is only at the level of thought. This is an intermediate stage between pasyanti and vaikhari. There is a sort of subtle speech only at this level.» — Singh describe los grados de la palabra, de paravak a madhyama.

«At the Vaikhari stage, there is gross speech, The word and the object are completely divided. The word vikhara means body. So vaikhari is the stage when the bodily organs are employed in utterance. Thus there are three stages in the manifestation of the universe para, suksma and sthula, higher, subtle, and gross.» — Singh cierra la escala de la palabra en vaikhari y la iguala a tres grados de manifestación.

«She who is considered to be imperishable sakti is the soul of all the mantras. Without her, O fair one, all the mantras are as useless as autumnal clouds."» — Singh traduce el Tantrasadbhava sobre la sakti como alma de todo mantra.

«Mantras consist of letters. These letters are not meaningless jargon. They are symbols of the creative saktis of the Divine. These saktis inherent in the letters are collectively known as Matrka. This Matrka is the secret of all the mantras.» — Singh niega que las letras del mantra sean jerga y las declara símbolos de las saktis.

«"O dear one, mantras consist of letters. These are a form of sakti. Sakti as such should be known as Matrka and Matrka should be known as the nature of Siva".» — Singh traduce el Tantrasadbhava sobre la identidad de Matrka y Siva.

«"O goddess, the universe right from Brahma down to earth is pervaded by Matrka who is full of the lustre of parahanta - the I-consciousness of the Supreme".» — segunda cita que Singh trae del Tantrasadbhava, sobre la Matrka que impregna el universo entero.

«In order to acquire mantra-sakti, one has to approach a guru or spiritual director who imparts a mantra with his grace and instils caitanya sakti or power of consciousness into it, and teaches him the mystery of Matrka.» — Singh declara la necesidad del guru para que el mantra tenga potencia.

«The word for 'I' in Sanskrit is (aham). 'A' and 'ha' between themselves include all the letters of the Sanskrit language. As each one of these letters is symbolic of the creation of either an objective or subjective element, this means that aham or consciousness of Parama Siva is creative of the entire universe of subjects and objects.» — Singh explica cómo *aham* abarca todas las letras y con ellas todo lo manifestado; el impreso deja fuera el devanagari, que la capa de texto no rinde.

«'A' represents prakasa or Siva; 'ha' represents vimarsa or Sakti; the bindu or dot on 'ha' represents the fact that though Siva is manifested right up to the earth through Sakti, he is not divided thereby; he remains integrally the same.» — Singh reparte las dos letras extremas del alfabeto entre Siva y Sakti y explica el bindu como marca de no división.

«Matrka when unknown or unrealized leads to all kinds of worldly experience. When she is realized, she leads to liberation.» — Singh repite el doble filo de la Matrka al entrar en la exposición del Saktopaya.

«This aspect of I-consciousness which reveals the universe as only an expression of the Self is brought about finally by unmana or unmani sakti which is the highest development of the mantra sakti inherent in Matrka. Unmana is also known as para vidya, the highest gnosis.» — Singh identifica la unmana sakti con la para vidya, la gnosis más alta.

«(Tantrasara p. 3) "The function of the agama is to awaken in the mind suddha vikalpa i.e. pure and correct thought about Self."» — Singh traduce del Tantrasara la función que Abhinavagupta asigna al agama.

«"Sat-tarka is the reflection that re-inforces continuity of ideas similar to the suddha vikalpa. This leads to bhavana. Bhavana is a word well-nigh untranslatable in English. 'Creative contemplation' is the best word for bhavana."'» — Singh traduce el sat-tarka y declara intraducible *bhavana*, proponiendo *creative contemplation*.

«"Bhavana is that contemplation by which a thing which though real and existent appeared as non-existent and unreal previously owing to obscurity reappears as manifest reality by sheer clarity".» — Singh traduce la definición de bhavana que da Abhinavagupta.

«Constructive imagination plays an important role in bhavana. It is a sort of auto-suggestion which sinks into the unconscious and fishes out surprizing reality from its mysterious depth.» — Singh describe la bhavana como autosugestión que pesca realidad del inconsciente; el vocabulario es suyo, no del sutra.

«There is another saktopaya by spanda principle. By means of this, vikalpas or thoughts can be liquidated if one can develop the art of grasping mentally the spanda or dynamic reality which reveals itself in the interval of two thoughts. This revelation is known as unmesa.» — Singh da una segunda vía sakta por el spanda, en el intervalo entre dos pensamientos.

«The total life of the aspirant who has received full enlightenment about matrka-cakra is changed. He is oriented Godward. His whole life becomes yoga. His formal rituals are changed into spiritual practices.» — Singh describe la transformación del rito en práctica interior; el impreso parte *God-ward* al fin de renglón y la extracción lo devuelve como *Godward*, sin que se pueda decidir desde la capa de texto si el guion era léxico.

«"All objects actually abide in God" - with this purifying thought such an aspirant offers everything unto God by bhavana. This is his yaga or sacrifice. "The perfect, infinite God is my real Self" - constant repetition of this idea is his japa. Viewing objects like the body, jar etc. as simply an aspect of God is his vrata (vowed observance). The quest of the Divine that is not an object of thought is his yoga.» — Singh traduce los ejemplos con que Abhinavagupta interioriza sacrificio, japa y voto.

«A door gently swings open; a force arises from within which embraces our so-called 'I' to death. The limited 'I' dies to live in the universal 'I'.» — la figura con que Singh cierra la exposición del Sakta-upaya; es prosa suya.

«The word upaya connotes 'means of approach'. In Sambhavopaya, the means of approach to the Divine is, if it can be called means at all, alert passivity or choiceless awareness.» — Singh traduce *upaya* y describe el modo del Sambhavopaya.

«Rather, the citta has to withdraw, to cease playing an active role. Therefore, this is also known as niralamba yoga (supportless yoga).» — Singh nombra el Sambhavopaya como yoga sin soporte.

«In this, the citta is used for seeking the source of its being, for seriously thinking out what exactly is meant by 'I' or Self. It is used to understand the deeper significance of mantra and the supreme I-consciousness which is the source of all mantras.» — Singh describe el uso del citta en el Saktopaya.

«It is meant for those whose citta is already oriented spiritually. As Ksemaraja says in his commentary on the first sutra of the second section cetyate vimrsyate anena param tattvam iti cittam - Citta (in this context) is that which earnestly seeks to apprehend the highest Reality.» — Singh acota a quién sirve el Saktopaya y cita la definición de citta que da Ksemaraja.

«Sakta-yoga is a process of self-inquiry. Of modern yogis, Ramana Maharsi may be said to have set the best example of Sakta yoga.» — Singh pone a Ramana Maharsi como ejemplo moderno del Sakta yoga; la adjudicación es suya.

«Here anu, the limited, conditioned individual takes up same limited aspect as buddhi, prana, body, some object in space from which he starts his yogic practice.» — Singh describe el punto de partida del anavopaya; el impreso rinde *some* como *same*.

«In Sambhavopaya, the first sutra is caitanyam atma. It is the universal consciousness characterized by absolute freedom, jnana (knowledge) and kriya (activity) which is the Self. In Saktopaya, the first sutra is cittam mantrah. It is the spiritually oriented citta which by mantra sakti realizes the essential divine Self. In anavopaya, the first sutra is cittam atma.» — Singh alinea los tres primeros sutras de las tres secciones como fórmulas de las tres vías.

«This psychological or empirical self is known as anu. It is because this yoga starts from the standpoint of anu or the limited psychological, empirical self that it is called anava yoga.» — Singh explica de dónde le viene el nombre al anava yoga.

«Therefore, it is called bhedopaya i.e. a technique of approach by means of something different from the essential Self.» — Singh da el otro nombre del anavopaya.

«In Saktopaya, it is jnana which is most predominant. In anavopaya, it is kriya (activity) which is most predominant. Even meditation which this technique uses is also kriya (manasi kriya). It also uses kriya (activity) in a grosser form, e.g. repetition of a mantra, worship of a chosen deity, an idol etc. Therefore, this is called Kriyopaya.» — Singh reparte jnana y kriya entre las dos vías y nombra el Kriyopaya.

«It should be carefully borne in mind that the three upayas are not water-tight compartments. Anavopaya has to lead» — Singh niega que los tres upayas sean compartimentos estancos; el tramo se corta en el cambio de plana y continúa en la 51 con *to saktopaya and finally to sambhavopaya*.

«to saktopaya and finally to sambhavopaya. The realization of sambhavopaya is the highest, and that is the goal of all the upayas. One upaya passes into another.» — continuación de la misma frase de Singh ya en la plana 51: el sambhavopaya es la meta de todas las vías.

«That is why the Siva-Sutras in describing each upaya or technique do not confine themselves solely to that upaya but also refer to other upayas as aids.» — Singh explica con eso por qué cada sección remite a las otras vías.

«"A perfect absorption into the essential divine Self that is achieved through uccara, karana, dhyana, varna, and sthana-kalpana is known as anava."» — Singh traduce la definición del anava que da el Malinivijaya, con sus cinco soportes.

«Abhinavagupta says in his Tantrasara (p. 36) that in this, the aspirant should meditate on the pramata (knower or subject), pramana (knowledge) and prameya (known or object) in a unified way (devoid of these distinctions). In consequence, the fire of the deeper, inner consciousness will be sharply lit up. Then grasping all external objects through the collective whole of the powers (saktis) moving out through his sense-organs, he should, by bhavana, pour them into the fire of inner consciousness that has already been lit up.» — Singh resume el dhyana según el Tantrasara: unificar conocedor, conocimiento y conocido y verter lo externo al fuego interior.

«Various kinds of ananda or delight are experienced by fixing the attention on the various pranas.» — Singh abre la serie de los siete ananda del uccara.

«After the experience of these six kinds of ananda, when the aspirant realizes his prana-sakti in its fulness, he has the experience of (7) jagadananda in which there is no division or limitation, for it flashes forth all round, in which it is consciousness alone which expresses itself as knower, means of knowledge or known, which expands by the nectar of divine joy of absolute sovereignty, in which there is no need for contemplation.» — Singh describe el séptimo, el jagadananda, como el que ya no admite contemplación.

«This entire practice is briefly known as uccara yoga or prana yoga. When it is fully developed, the following characteristics appear as a consequence: (1) Experience of delight (2) Udbhava - a kind of inner leap (3) Kampa or tremour (4) Nidra in which the aspirant is asleep to all outward objects (5) Ghurni or reeling with delight.» — Singh enumera los cinco signos que aparecen cuando el uccara yoga madura.

«It will be seen that this prana yoga is entirely different from pranayama which is only an exercise of breath control.» — Singh separa el prana yoga del pranayama.

«From the uccara of this general prana, there vibrates an imperceptible, inarticulate sound which is known as varna."» — Singh traduce el Tantraloka V, 131 sobre el sonido inarticulado del prana general.

«"No one sounds it voluntarily, nor can any one prevent its» — Singh traduce el Svacchanda Tantra sobre el sonido que nadie emite ni impide; el tramo se corta en el cambio de plana y la frase se completa en la 54 con *being sounded. The deity abiding in the heart of living creatures sounds it himself*.

«being sounded. The deity abiding in the heart of living creatures sounds it himself."» — continuación en la plana 54 de la misma cita del Svacchanda Tantra.

«"There is one varna in the form of nada in which lie all the varnas (letters) latently in an undivided form. As it is ceaseless, it is called anahata, i.e. unstruck, natural, uncaused.» — Singh traduce a Abhinavagupta sobre el nada anahata que contiene todas las letras.

«Jayaratha's commentary on this runs as follows: "In this imperceptible, inarticulate anahata nada, all the varnas (letters) lie latently in an undivided way. As all the varnas (letters) originate from this nada, therefore, is it called varna proleptically."» — Singh trae el comentario de Jayaratha sobre el mismo verso.

«The anusandhana or intensive awareness of this nada is called varna yoga or dhvani yoga. It is a very ancient form of yoga. Sankaracarya in his yoga-taravall calls it nadanusandhana. It goes by this name in some of the tantras and in the yoga tradition of Gorakhanatha.» — Singh nombra la práctica y la rastrea en Sankaracarya y en la tradición de Gorakhanatha.

«Among the mediaeval saints of north India, such as Kabir and others, it is called surati-sabda yoga. In Radhasvaml sect also, it is known as surati-sabda yoga.» — Singh extiende el mismo nombre a Kabir y a la secta Radhasvami; el acercamiento es suyo.

«Sa is srsti bija or the mystic letter denoting expiration and ha is samhara bija or the mystic letter denoting inspiration.» — Singh reparte las dos sílabas entre exhalación e inhalación.

«"The breath is exhaled with the sound sa and inhaled with the sound ha. Therefore the empirical individual always repeats the mantra hamsah. Throughout the day and night, he repeats this mantra 21,600 times, Such a japa (repetition of the mantra) of the goddess (Gayatri) has been prescribed which is quite easy for the wise, and difficult for the ignorant."» — Singh traduce el verso que Ksemaraja cita en el sutra III.27 sobre el hamsah y sus 21,600 repeticiones.

«Since the outgoing and incoming breaths repeat this naturally, automatically without any effort on any body's part, it is known as ajapa-japa i.e. a repetition of the mantra that is going on naturally without any body's repeating it.» — Singh explica el ajapa-japa como repetición que nadie hace.

«By anusandhana or mental observation or awareness of this automatic process, prana (exhalation) and apana (inhalation) become equilibrated and then the dormant kundalini that lies in three and a half folds at the base of the spine rises upwards.» — Singh liga la observación del ciclo respiratorio al despertar de la kundalini.

«At that time, a number of pleasant sounds is heard. But the aspirant should not dwell on these sounds. He should neglect these and dwell on the para nada which is anahata nada in the strictest sense of the word.» — Singh advierte contra detenerse en los sonidos agradables.

«The awakened Kundalini pierces the brahmagranthi. Then she pierces the muladhara cakra. Rising further, she pierces the svadhisthana and manipura cakras. Then she pierces the visnugranthi and the anahata and visuddha cakras. Now she pierces the rudragranthi and then ajnacakra, and finally enters the sahasrara.» — Singh describe el recorrido de la kundalini por granthis y cakras.

«The nadis and cakras are not physical constituents. They are in the pranamaya kosa, the vital sheath in the subtle body.» — Singh niega que nadis y cakras sean constituyentes físicos.

«The cakras are the seats of vital energy. They are called cakras because they are like a wheel in appearance, They absorb and distribute prana to the pranamaya kosa and through it to the physical body.» — Singh explica el nombre y la función de los cakras.

«The nada is subtle in madhyama stage and finally when it reaches the pasyanti stage, it is no longer audible. The aspirant has now an experience of jyoti (light). All the vikalpas are now calmed and one can have the experience of purndhanta or the supreme I-consciousness.» — Singh describe el paso del nada audible a la luz; el impreso rinde *purnahanta* como *purndhanta*.

«By the intensive awareness of this pranava there arise nine stages of yoga which are subtle forms of nada, known as nine nadas. The first stage is (1) bindu which is known as ardha matra. The next stage is (2) ardha candra which is subtler than the previous. Each succeeding stage goes on getting subtler than the preceding (3) rodhini (4) nada (5) nadanta (6) sakti (7) vyapini (8) samana and (9) unmana or unmani are the other stages that follow. Unmana is the highest aspect of consciousness.» — Singh enumera los nueve nadas o estadios de sutileza del sonido.

«Upto samana, there can be only atma-vyapti, realization of the essential Self. It is only at the stage of unmana that there can be Siva-vyapti which includes not only the realization of the metaphysical Self but also the realization of the world as an aspect of the Self.» — Singh distingue atma-vyapti y Siva-vyapti por el estadio de unmana.

«In sutra seven of the third section of the Siva-Sutras Ksemaraja refers to unmana. He says that upto samana, there is the play of maya. It is only at the stage of unmana that maya ceases completely. Another name of unmana is sahaja vidya.» — Singh atribuye a Ksemaraja el cese de maya solo en el unmana.

«Ksemaraja adds that though the process of reaching the unmana stage is saktopaya, yet it has been included in anavopaya,» — Singh recoge la razón de Ksemaraja para incluir un tramo sakta dentro del anavopaya; el tramo se corta en el cambio de plana y sigue en la 59 con *because the anavopaya has to lead to saktopaya*.

«Karana is the technique which utilizes the body (deha). By body is here meant all the bodies - gross, subtle and causal. In Karana, mudras (dispositions of certain parts of the body in particular ways) are also utilized.» — Singh define el karana como la técnica del cuerpo, con mudras.

«There are seven varieties of karana technique, viz. (1) grahya (2) grahaka (3) cit or samvitti (4) nivesa or sannivesa (5) vyapti (6) tyaga and (7) aksepa. (Tantr. V, 129).» — Singh enumera las siete variedades de karana según el Tantraloka.

«"Here the seven varieties of karana, viz. grahya etc. are meant to subordinate and ultimately assimilate all objective phenomena to the consciousness of the essential Self".» — Singh traduce a Jayaratha sobre el fin común de las siete karanas.

«The first practice consists of assimilating grahya or all objects of perception into grahaka or the sense organs; the next practice consists of assimilating all these into cit or samvitti; the third practice consists of being completely established in cit or samvitti.» — Singh describe las tres primeras karanas como asimilación sucesiva.

«When the aspirant pervades every object with universal consciousness, he is said to have achieved vyapti, Vyapti is achieved by means of bhavana. Tyaga is the stage where all effort is abandoned. The universal consciousness now abides spontaneously. Vyapti and tyaga reach the stage of saktopaya. Aksepa means projection of the universal consciousness in the entire universe. This is the stage of sambhava yoga.» — Singh sitúa vyapti, tyaga y aksepa ya en los tramos sakta y sambhava.

«For those who cannot fix their citta even on buddhi, the inner prana or nada, there are other anavopayas which deal with the fixing of the mind on externals.» — Singh introduce la sthana-kalpana como recurso para quien no puede fijar la mente adentro.

«There are three sthanas or places on which mind can be fixed, viz., pranavayu, body, and something outside the body.» — Singh da los tres sitios de la sthana-kalpana.

«From the centre of the body prana (exhalation) covers a distance of twelve fingers in the outer space and again from that point apana (inhalation) covers the same distance up to the centre. These two points or places are known as external dvadasanta and internal dvadasanta.» — Singh mide los dos dvadasanta en doce dedos desde el centro del cuerpo.

«By body in this context is meant the gross body. The things external to the body include idol, picture etc. Those who are unable to fix the mind even on prana may fix it on these external things.» — Singh admite el ídolo y la imagen como soportes últimos de la fijación.

«Characteristic of Atman; Atma is foundational consciousness characterized by absolute freedom of knowledge and action.» — muestra del resumen de sutras con que Singh cierra la introducción: el sutra I.1.

«Sambhava-upaya or emergence of the Bhairava or transcendental consciousness shatters the shackles of ignorance and sets the individual free.» — resumen de Singh del sutra I.5.

«The sixth sutra shows both the effect of Sambhava consciousness and a re-inforcement of that consciousness by Saktopaya.» — Singh señala en su resumen que el sutra I.6 mezcla las dos vías.

«Deep sleep is a state of complete unawareness. It is a state of delusion brought about by Maya. All the above three states may be considered both from the point of view of the common man and the yogi.» — resumen de Singh de los sutras I.8 a I.10 sobre los tres estados, leídos a la vez desde el hombre común y desde el yogui.

«The Highest Sakti (Para Sakti) is, on account of its depth, transparency etc, like a lake. When an aspirant is united with it, i.e., when he is constantly aware of his identity with it, he has an experience of the potency of the great mantra. Having an experience of it means the feeling of the throb of the supreme I-consciousness as his own inmost Self. This I-consciousness is the generative source of all the mantras i.e., all mantras derive their power from it.» — resumen de Singh del sutra I.22, con el símil del lago.

«When the mind broods constantly over the mantra of the Highest Reality i.e., over the Supreme-I consciousness, it gets identified with it. Thus the mind itself becomes the mantra. There is no longer any difference between the practiser of the mantra and the mantra itself. Saktopaya is the technique of jnana. By constant awareness of the .jnana of the real I-consciousness, the mind (Cittam) of the aspirant is transformed into that Supreme I-consciousness itself. Thus he has full realization.» — resumen de Singh del sutra II.1, donde la mente se vuelve el mantra.

«Vidyasarlra is a compound word, meaning sabda-rasi - a multitude of words or mantra. The satta or luminous being of the multitude of words consists in supreme I-consciousness which is non-different from the world.» — resumen de Singh del sutra II.3; el impreso rinde *Vidyasarira* como *Vidyasarlra*.

«The ideal of mantra and therefore of Saktopaya is not the acquisition of inferior power, but rather of the Supreme I-consciousness of Siva - a consciousness which includes the universe within itself.» — resumen de Singh del sutra II.4: el mantra no busca poderes inferiores.

«Guru is a help in attaining the potency of mudra and mantra, for he expounds the means to the goal. Or the divine grace acts as a guru in affording a favourable opportunity (in acquiring the potency of mantra).» — resumen de Singh del sutra II.6, donde la gracia puede hacer de guru.

«If jnana is interpreted as limited knowledge, then the sutra would mean 'limited knowledge is annam i.e. is devoured by the Yogi.' If jnana is interpreted as svarupa-jnana or knowledge of Self, then annam would mean food that gives satisfaction, and the whole sutra would mean "Self-realization becomes his food i.e. fills him with the highest satisfaction." Bhaskara also gives the above interpretation in his varttikas.» — resumen de Singh del sutra II.9 con sus dos lecturas, y la coincidencia que le atribuye a Bhaskara.

«According to Bhaskara, this sutra means to say that when the knowledge common to the ordinary folk of the world dissolves on the realization of one's real Self, the previously apprehended delusive knowledge of the objects of the world is remembered only like a dream.» — Singh consigna la lectura de Bhaskara del sutra II.10, distinta de la que él expone antes.

«That which is deeply affected with desire for objects of sense is citta. The constituents of citta are buddhi, ahamkara and manas. In the context of the individuals, it is this citta or the conditioned mind that is knower or atma. The citta is called atma, because by means of sattva, rajas and tamas, it moves on from one form of existence to another. (Atati iti atma, that which moves on is atma).» — resumen de Singh del sutra III.1, con la etimología de atma como lo que se mueve.

«Man's bondage is due mainly to maya. Maya, in this context, means non-discrimination between the real Self and the pseudo-self constituted by the kancukas like kala (limited efficiency), Vidya (limited knowledge), raga (egoistic desires) etc. and subtle and gross body.» — resumen de Singh del sutra III.3.

«By pranayama, dharana etc. one acquires Supernormal powers over the elements, but such powers are the outcome of moha (delusion about the essential nature of the self) which draws a veil over the Highest Reality. By these means, one cannot realize the Highest Reality.» — resumen de Singh del sutra III.6: los poderes vienen de moha y no llevan a lo Real.

«The essential Self is like an actor on the world-stage. He is unaffected by the parts he plays.» — resumen de Singh del sutra III.9, con el símil del actor.

«The yogi who has attained Sahaja Vidya (Suddha Vidya) should not become heedless. If he is not on the alert, he may be deluded by the deities presiding over letters like other ordinary folk.» — resumen de Singh del sutra III.19, con la advertencia sobre las deidades de las letras.

«Remaining in the body till the prarabdha karma is exhausted is all the pious act (vrata) that such a yogi observes.» — resumen de Singh del sutra III.26: la permanencia en el cuerpo como único voto.

«Since the I-consciousness of the Yogi is the awareness of the pure, spiritual I, every speech of the yogi amounts to a japa of the divine I.» — resumen de Singh del sutra III.27, donde el habla entera se vuelve japa.

«Even when there is change in the objective appearance, there is no change in the subject of experiences, for even the experience of change requires an experient.» — resumen de Singh del sutra III.32, con el argumento del experimentador.

«The Yogi that is untouched by any trace of pleasure and pain is known as Kevaii i.e. one who is a knower only as pure consciousness.» — resumen de Singh del sutra III.34; el impreso rinde *Kevali* como *Kevaii*.

«The Yogi's power of creativity can be inferred from one's own experience of imaginative creation in dream, etc.» — resumen de Singh del sutra III.37, que infiere el poder creador del yogui por la creación onírica.

«Even after Self-realization, the yogi has to retain his gross body, because the body is linked with prana, the universal Life Force which is generated from Svatantrya Sakti - the» — resumen de Singh del sutra III.43 sobre por qué el cuerpo no se abandona; el tramo se corta en el cambio de plana y sigue en la 69.

«The soul that had forgotten its essential nature now recognizes its divine nature again. The Yogi who has realized his essential, divine nature, shedding all sense of difference, inwardly feels the universe as dissolved in Siva and outwardly experiences it only as an expression of I-consciousness which is identified with Siva.» — resumen de Singh del último sutra, III.45, que cierra con el reconocimiento.

«Nasika or prana-sakti flows in the right, (pingala), left (ida) and middle (susumna) nadis. The internal aspect of prana sakti is samvid (or consciousness), the madhya or the central aspect of this consciousness is the awareness of the divine, transcendental T. By constant mindfulness of this I-consciousness, there is nirvyutthana samadhi in all conditions.» — resumen de Singh del sutra III.44, con los tres nadis.

«Ajnanam: The primal limitation (mala); Ajnana in this system does not mean absence of knowledge, but contracted or limited knowledge. Being inherent in Purusa on account of which he considers himself as of limited knowledge and limited activity, it is known as Paurusa-Ajnana.» — muestra del glosario de Singh: la entrada *Ajnanam* repite que la ignorancia no es ausencia sino conocimiento contraído; el impreso rinde *Mahamaya* como *Maharnaya* dos entradas antes.

«A n u : 'Aniti svasiti iti anuh' - one who breathes i.e. the jiva - the empirical individual; the limited, conditioned experient, conditioned by the body, puryastaka and prana; the cittamaya pramata, the experient whose predominant nature is the empirical mind; the Maya-pramata, the experient dominated by Maya.» — entrada *Anu* del glosario; el OCR espacia las letras del lema.

«Anacka: Sounding the consonants without the vowels; esoteric meaning - 'concentrating on any mantra back to the source where it is unuttered'.» — entrada *Anacka* del glosario, que distingue sentido exotérico y esotérico.

«Anupaya: Spontaneous realization of Self without any special effort. Anugraha: Grace.» — entradas *Anupaya* y *Anugraha* del glosario.

«Anuttara: (1) The Highest; the Supreme; Parama Siva; the Absolute (lit. one than whom nothing is higher).» — entrada *Anuttara* del glosario.

«Alamgrasa: 'Alam' in this context means atyartham i.e. to the utmost, and grasa means swallowing, consuming i.e. completely reducing to sameness with Self. Alamgrasa, therefore, means bringing experienced object completely to sameness with the consciousness of the Self when no impression of samsara as separate from consciousness is allowed to remain.» — entrada *Alamgrasa* del glosario, con la etimología de tragar.

«Asana: Exoteric.meaning - 'A particular posture of the body'. Esoteric meaning - 'Being established in the Self.» — entrada *Asana* del glosario, que separa los dos sentidos; el impreso pega el punto en *Exoteric.meaning* y deja la comilla sin cerrar.

«Unmesa: Lit. Opening of the eye; (1) The externalizing of Ichha Sakti; the start of the world-process. (2) In Saivayoga - unfolding of the spiritual consciousness which comes about by concentrating on the inner consciousness which is the back-ground of the rise of ideas.» — entrada *Unmesa* del glosario con sus tres acepciones; el impreso parte *Saiva-yoga* al fin de renglón y la extracción lo devuelve unido.

«Unmana: The Suprarnental Sakti of Parama Siva in its primal movement towards manifestation, though inseparable from Him is known as unmana or unmani. Literally it means that which transcends manas.» — entrada *Unmana* del glosario; el impreso rinde *Supramental* como *Suprarnental*.

«Kancuka: The coverings of Maya, throwing a pall over pure consciousness (Suddha Sarhvid) and thus converting Siva into jiva. They are (1) kala, (2) (asuddha) Vidya, (3) Raga (4) Niyati and (5) Kala. Kanda: Muladhara psychic centre.» — entrada *Kancuka* del glosario.

«Kundali or Kundalini: The creative power of Siva; A distinct sakti that lies folded up in three and a half folds in Muladhara. Kumbhaka: Retention of prana.» — entrada *Kundalini* del glosario.

«Kulamnaya: The Sakta system or doctrine of realizing the» — arranque de la entrada *Kulamnaya* del glosario; el tramo se corta en el cambio de plana.

«Kulamarga: The discipline for attaining to the Supreme.» — entrada *Kulamarga* del glosario.

«Kevali: One whose sole essence of Self consists in being pure» — arranque de la entrada *Kevali* del glosario; el tramo se corta en el cambio de plana.

«Krama: Realization of Self by means of Kriya Yoga. Kriya Yoga: Anava upaya, also known as Kriyopaya.» — entradas *Krama* y *Kriya Yoga* del glosario.

«Camatkara: Bliss of the pure I-consciousness; delight of artistic» — arranque de la entrada *Camatkara* del glosario, que junta la dicha de la I-consciencia con el deleite artístico.

«Caitanya: The foundational Consciousness which has absolute» — arranque de la entrada *Caitanya*, el término del primer sutra.

«Jivanmukta: The liberated individual who while still living in» — arranque de la entrada *Jivanmukta* del glosario.

«Turyatita: The state of consciousness transcending the turiya,» — arranque de la entrada *Turyatita* del glosario.

«Nirvana: Dissolution in Sunya; liberation. Nirvikalpa: Devoid of all thought-construct or ideation.» — entradas *Nirvana* y *Nirvikalpa* del glosario.

«Nimilana Samadhi: The inward meditative condition in which» — arranque de la entrada *Nimilana Samadhi* del glosario.

«Baindavi kala: Baindavi - pertaining to Bindu or the knower, Kala - will power. Baindavi kala is that freedom of Parama Siva by which the knower always remains as the knower and is never reduced to the known, svatantrya sakti.» — entrada *Baindavi kala* del glosario.

«Bhavana: The practice of contemplating or viewing mentally oneself and everything else as Siva; jnana yoga; Sakta-upaya; creative contemplation; apprehension of an inner,. emergent divine consciousness.» — entrada *Bhavana* del glosario, con las tres traducciones que Singh admite.

«Bhairava (para): Parama Siva; the Highest Reality. This is an anacrostic word, bha, indicating bharana, maintenance of the world, ra, ravana or withdrawal of the world, and va, vamana or projection of the world.» — entrada *Bhairava (para)* del glosario, con el desglose acróstico; el impreso rinde *acrostic* como *anacrostic*.

«Bhairava mudra or Bhairavi mudra: This is a kind of psycho-physical condition brought about by the following practice 'Attention should be turned inwards; the gaze should be turned outwards, without the twinkling of the eyes'.» — entrada *Bhairava mudra* del glosario, con la instrucción de mirar afuera y atender adentro.

«Madhyamaka: Buddhist philosophy that teaches that Reality lies in the middle and not in any of the tetralemma;» — entrada *Madhyamaka* del glosario, una de las pocas que nombra una escuela budista.

«Mantra: (1) Sacred word or formula to be chanted (2) In Saktopaya that sacred word or formula by which the nature of the Supreme is reflected on as identical with the Self. It is called mantra, because it induces manana or reflection on the Supreme and because it provides trana or protection from the whirlgig of transmigratory life. In Saktopaya, the citta itself assumes the form of mantra.» — entrada *Mantra* del glosario, con las tres acepciones; el impreso rinde *whirligig* como *whirlgig*.

«Mahabrada: The highest, purest I-consciousness. It is called» — entrada *Mahahrada* del glosario; el impreso rinde el lema como *Mahabrada* y el tramo se corta en el cambio de plana.

«Maya (In Samkara Vedanta): The beginningless cause that brings about the illusion of the world.» — entrada del glosario que reserva una acepción distinta de *maya* para la Vedanta de Sankara.

«Mukti: Liberation from bondage; acquisition of Siva-consciousness: Jivan-mukti-Liberation while living i.e. acquisition of Siva-consciousness while the physical, biological and psychic life are still going on. Videha-mukti-establishment in Siva-consciousness after the mortal body has been dissolved.» — entrada *Mukti* del glosario, que separa jivan-mukti y videha-mukti.

«Y o n i : (1) womb, source. (2) The nine classes of consonants; in the context of letters, sakti is yoni, and Siva is bija. (3) The four saktis, viz., Amba, Jyestha, Raudri, Varna (4) Maya-sakti.» — entrada *Yoni* del glosario con sus cuatro acepciones.

«Mudra-krama or Krarna-rnudra: The condition in which the mind by the force of samavesa swings alternately between the internal (Self or Siva) and the external (the world which now appears as the form of Siva).» — entrada *Mudra-krama* del glosario: la mente oscila entre lo interno y lo externo; el impreso rinde *Krama-mudra* como *Krarna-rnudra*.

«Sakti-pata: Descent of Sakti; Divine grace by which the empirical individual turns to and realizes his essential divine nature.» — entrada *Sakti-pata* del glosario.

«Sabda-brahma: Ultimate Reality in the form of thoughtvibration in which state thought and word are identical.» — entrada *Sabda-brahma* del glosario; el impreso parte *thought-vibration* al fin de renglón y la extracción lo devuelve unido.

«Sambhava upaya: Sudden emergence of Siva-Consciousness without any thought-construct (vikalpa) by a mere hint that one's essential Self is Siva; also known as Sambhava Yoga or Icchopaya or Iccha-Yoga.» — entrada *Sambhava upaya* del glosario.

«Suddha Vidya: The fifth tattva, counting from Siva. In this tattva, the consciousness of both I and This is equally prominent. Though the germinal universe is seen differently, yet identity runs through it as a thread. There is identity in diversity at this stage. Kriya is predominent in this tattva. The consciousness of this state is 'I am I and also this.'» — entrada *Suddha Vidya* del glosario.

«Sunya (Bauddha): A state in which there is no distinct consciousness of knower, knowledge and known; an indefinable state of Reality. Sunya (Saiva): A state in which no object is experienced.» — entradas del glosario que separan el *sunya* budista del saiva.

«Saiva agama: The ten dualistic sastras, eighteen sastras which teach identity in difference, and sixty-four non-dualistic sastras expounded by Siva.» — entrada *Saiva agama* del glosario, que reparte los agamas en tres grupos por su doctrina.

«Samvit: Supreme consciousness in which there is complete fusion of prakasa and vimarsa, jnana-sakti; svatantrya-sakti; the supreme I-consciousness.» — entrada *Samvit* del glosario.

«Sahaja-vidya: Knowledge of the innate essential nature; unmand; pure divine consciousness in which mental consciousness ceases, pervasion into Siva-consciousness (Siva-vyapti).» — entrada *Sahaja-vidya* del glosario; el impreso rinde *unmana* como *unmand*.

«Sayujya: The state in which the aspirant realizes identity with the Divine in the midst of difference. Sarupya: The state in which the aspirant realizes complete identity with the Divine. Salokya: The state in which the aspirant lives on the same plane with his chosen deity.» — entradas *Sayujya*, *Sarupya* y *Salokya* del glosario, tres grados de identidad con lo divino.

«Sugata: The Buddha. Suprabuddha: One who has awakened to the transcendental state of consciousness and in whom that consciousness is constantly present. Susupti: Sound, dreamless sleep. Susupti (savedya): Sound sleep in which there remains a slight trace of the sense of pleasure, lightness etc. Susupti (apavedya): Very deep sleep in which there is complete absence of all objective consciousness. Susuptata or sausuptam: Delusive condition caused by primal ignorance. Suksrna Sarira: The inner subtle body, puryastaka. Surya (symbolic): Prana, pramana (knowledge), Jnana-sakti. Surya nadi: The Ida nadi carrying prana. Srsti-bija: Mantra-bija, the Supreme I-consciousness which brings about manifestation. Soma (symbolic): Prameya or object, apana. Soma nadi: The Pingala nadi carrying apana. Saugata: Follower of Buddha, a Buddhist.» — entradas del glosario para *Sugata* y *Saugata*; el tramo recorre otras entradas intermedias.

«Spanda: Apparent motion in the motionless Siva which brings about the manifestation, maintenance and withdrawal of the universe; Svatantrya Sakti, creative pulsation.» — entrada *Spanda* del glosario.

«Hrada: Lit., Lake; the Supreme Spiritual awareness; It is called a lake, because it is clear, uncovered by anything, deep, and infinite.» — entrada *Hrada* del glosario, con la razón del símil del lago.

«ABSOLUTE: Atma - Caitanya - Parama Siva 6-12, its proof 13; Atma as the individual self 126-128; atma as an actor 152-154; antara-atma as the stage 155; senses as the spectator 156-157.» — muestra del índice de materias que cierra el volumen: la entrada ABSOLUTE remite por páginas impresas, no por planas.

«BONDAGE: Mayiya mala, Karma mala, anava mala 16-20; 128-130; 132-133.» — entrada BONDAGE del índice de materias.

«(2) SAKTOPAYA, sakti as mantra, citta becoming mantra 82-84; perfect I-consciousness inherent in words is the secret of mantra 88-93; emergence of Siva-Consciousness from I-consciousness 99-101; Guru, the help in acquiring this consciousness 102-104; enlightenment regarding matrka from the Guru 104-110; Effects of this enlightenment 119-122.» — entrada SAKTOPAYA del índice de materias, que resume la segunda sección por páginas impresas.

«MATRKA: 25-28. Mystic definition of waking, dream and deep sleep 41-47.» — últimas entradas del índice de materias que conserva el troceo; el volumen imprime además tres índices más que el escaneo no alcanza.

«Sutra 11 tells us that he who retains the experience of the 4th or transcendental consciousness even in the other three states of deep sleep, dream and waking is alone the real bhokta or enjoyer and is the perfect master of his senses.» — resumen de Singh del sutra I.11.

«Sutra 21 says that such a yogi, however, does not desire limited powers. Through the appearance of Suddha Vidya i.e. Unmana sakti in this context, he acquires cosmic consciousness and lordship over all the saktis. His highest experience is not simply self-realization (atmavyapti) but sivatva-yojana complete identification with Siva (Siva-vyapti) - a state in which the universe is experienced as the Self-expression of Siva.» — resumen de Singh del sutra I.21, que separa atmavyapti de Siva-vyapti.

«Siva Sutras The yoga of Supreme Identity J A I D E V A S I N G H» — la cubierta del volumen: el OCR espacia las letras del nombre del traductor y minuscula *yoga* frente a la portada interior, que imprime *The Yoga of Supreme Identity*.

«DEDICATED with profound respects to MM. Dr. Gopinath Kaviraj who was a source of inspiration in life And remains a Beacon-light in death.» — la dedicatoria del volumen a MM. Dr. Gopinath Kaviraj.

«SIVA-SUTRAS - TEXT AND COMMENTARY. Ksemaraja's Introduction to the Sutras.» — la tabla de contenidos separa el bloque de texto y comentario y le antepone la introducción de Ksemaraja.

«Glossary of Technical Terms. 235-263 Subject Index. 265-266 Index to important Sanskrit Words. 267-275 Alphabetical Index to the Sutras.» — la tabla de contenidos enumera los cuatro aparatos finales; el troceo solo alcanza el glosario y el principio del índice de materias.

«Sutra 1 together with the Vimarsini Commentary. 82-86 Sutra 2 " " 86-88 Sutra 3 " " 88-96 Sutra 4 " " 97-98 Sutra 5 " " 99-102 Sutra 6 " 102-103 Sutra 7 " " 1 0 4 - 1 1 8 Sutra 8 " " 118-120 Sutra 9 " " 120-122 Sutra 10» — la tabla de contenidos reparte la segunda sección en diez sutras por páginas impresas; el OCR espacia las cifras del rango del sutra 7.

«Dikcari: Sub-species of Vamesvari, connected with bahiskaranas or outer senses.» — entrada *Dikcari* del glosario, única de su plana.

«Paravak: The vibratory movement of the Divine Mind that brings about manifestation; Logos; Cosmic Ideation.» — entrada *Paravak* del glosario, que propone *Logos* como equivalente.

«Pratimilana: Both nimilana and unmllana i.e. turning of the consciousness both within i.e. into Siva and outside i.e. the Sakti of Siva, experience of divinity both within and outside.» — entrada *Pratimilana* del glosario, el término del último sutra; el impreso rinde *unmilana* como *unmllana*.

«Bindu or Vindu: (1) A point, a metaphysical point. (2) Undivided Light of Consciousness. (3) The compact mass of sakti gathered into an undifferentiated point ready to create (4) Parah pramata, the Highest Self or Consciousness. (5) Anusvara or nasal sound (in indicated by a dot on the letter suggesting the fact that Siva in spite of the manifestation of the universe is undivided. (6) A specific teja or light appearing in the centre of the eye-brows by the intensity of meditation.» — entrada *Bindu* del glosario con sus seis acepciones.

«Varna or Vamesvari: The divine Sakti that emits (from vam to emit) or projects the universe out of the Absolute and produces the reverse (vama) consciousness of difference (whereas there is non-difference in the divine).» — entrada *Vama o Vamesvari* del glosario, con la etimología doble.

«Vijnanakala: The experient below Suddha Vidya but above Maya who has pure awareness but no agency. He is free of karma and mayiya mala but not free of anava mala.» — entrada *Vijnanakala* del glosario.

«Vivarta: (In Sankara Vedanta) Appearance of the Real as something different.» — entrada del glosario que reserva *vivarta* para la Vedanta de Sankara.

Gnosis (conocimiento salvífico) — La culminación del camino se nombra como conocimiento supremo: la unmana sakti, aspecto más alto de la conciencia, se llama para vidya, y el glosario la iguala a la sahaja vidya, el saber de la naturaleza innata.

Iniciación (recepción por grados / metamorfosis del ser) — La potencia del mantra no se adquiere sin guru: hay que acercarse a uno que lo imparta con su gracia e infunda en él caitanya sakti, y el Malinivijaya hace del samavesa fruto de un despertar impartido por el guru, aunque el propio Ksemaraja registra la lectura alterna en que ese despertar es propio. La diksa se define en nota como consagración que da el conocerse a sí mismo.

Cadena de transmisión (quién tomó de quién) — El volumen consigna la transmisión por nombres: Vasugupta enseña los sutras a Kallata, Bhaskara reproduce la cadena hasta Srikanthabhatta, Ksemaraja se declara discípulo de Abhinavagupta, y el Svacchanda hace de la liberación recibida por linaje de maestros la excelente y pura.

Secreto (lo que se jura no fijar por escrito) — La doctrina se consigna como oculta y como ocultada: el sistema se llama Rahasya-sarnpradaya, los sutras son un compendio de la doctrina secreta de Siva, el Tantrasadbhava declara que la potencia de los mantras fue escondida por la conducta de la gente y solo quedaron las letras, y Ksemaraja corta su exposición diciendo que basta de expresar lo misterioso.

Microcosmos (el hombre-mundo) — En el karana-yoga el aspirante imagina el cuerpo como representante del universo entero, admira en él la gloria de lo divino y acaba considerándolo todo como el Sí mismo divino interior.

Imaginación (phantasia) — La bhavana se traduce como contemplación creativa y se describe como autosugestión que pesca realidad de lo inconsciente; el sutra III.37 infiere el poder creador del yogui de la experiencia propia de soñar e imaginar.