Parātrīśikā's amṛtabīja decoded

[yajvan]

hariḥ oṁ
~~~~~~

Namasté

Please note this is not intended to be an instruction, or a substitute for a proper teacher and methodology. It is in this folder, uttara, as an advanced subject for those predisposed or prepared for this type of subject matter.

This post offers a few ideas as an extension of another post¹ located in a different HDF folder. It will consider, by example, how the wise code their instructions of offering a mantra and knowledge to the capable practitioner (yogī).

There is a rule of thumb that suggests repetitions depend on the number of akṣara अक्षर (syllables or phonemes) the mantra contains. Pending the number, 1 lac (lakśa लक्ष; 1 lac =100,000) is counted for each akṣara and the total count = the total repetitions that bring siddhi (sidh= to attain or success).
That is why the proper mantra format is of great value. The correct akṣara is considered from the saṁskṛt akṣara format not an interpretation. This has nothing to do with meaning of the mantra but its saṁskṛt (some like to write sanskrit) akṣara count.

Are there other approaches? Sure. Use the 108 count for each sitting for japa of the mantra. Many like to use multiples of 108. This is where you actually count each mantra. This is usually done with some mālā¹ . Other approaches?

Before any timings can be considered I need to lay out a foundation for what mantra is being suggested.

Parā-trīśikā Vivaraṇa, amṛtabīja defined
The ideas originate in the Parā-trīśikā Vivaraṇa, the work of Abhinavagupta, śloka-s 9 through 18. We will take a look at the code (saṃketa&#185 or the instructions given in a few of the śloka-s . In this case the amṛtabīja¹ mantra is being discussed and the proper use of this mantra in dhyāna or dhāraṇā¹. Any mistakes or exclusions on this matter can only be attributed to me.

The śloka starts off with Bhairava addressing Śrī Devī as the gracious one, the one with beautiful hips (bhagavati suśroṇi) . I mention this as I hope we can discuss this idea and what it implies at a later date.
Bhairava is explaining the amṛtabīja¹ mantra, or that seed sound (bīja) that is filled with nectar of immortality. He says 'it is tṛtīyam brahma or the 3rd brahma united with the 14th vowel and well joined with which comes at the end of the lord of vowels (Tithīśa). (This appears in the 9th and 10th śloka-s.)

Step by step
What is the 3rd brahma (tṛtīyam brahma) ? Brahma is considered bṛṃhita or grown ,expansive from bṛh -grow great or strong , increase and expansive. This is Brahman being called out. But how can there be a 3rd Brahman? We know of only one. His/It's expansiveness or vastness or bṛhat encapsulates all things, in all time, and is ubiquitous ( there is no place He/It is not) , How then can we have 3 of them?
When Brahman is spoken of it is considered oṁ tat sat. We know these 3 describe the One. oṁ ॐ is outlined thoroughly in the Upaniṣad-s, along with tat which is tad तद् or 'That' and sat सत् which is Existence. We know Brahman by oṁ ॐ + tad तद् + sat सत्. Hence Bhairava is calling out the 3rd brahma as its 3rd definition point, sat सत्, and the sound-form that will be part of the amṛtabīja. Out of sat सत् comes sa स, the 't' will be dropped as the mantra is built. Yet sa स, can stand on its own and depicts the Universal Self.

Now , united with the 14th vowel. When we look at the saṃskṛt assembly of akṣara ( akṣara is imperishable and another name form Brahman), it is made up of vowels (svara) and consonants (vyañjāna). Śiva is the owner of svara and Śakti is the owner of vyañjāna. ( Yet we know there is only One, this is the traditional way of discussing this matter).
The vowels (svara) extend from a (अ) to ḥ (अः). If we count down the vowels in order we come to 'au' which is the 14th vowel.

It is quite interesting (to me) that there are two arrangements of the alphabet offered and discussed in the Parā-trīśikā Vivaraṇa ( and other books). That of Mātṛkā and Mālinī. With more study on this I hope to be fit to offer a post or two regarding this subject. If others wish to approach this subject and offer some insights , I look forward to your contributions - especially on the notion of 'reflection' and why the arrangements differ.

So within the Mātṛkā arrangement 'au' is the 14th vowel. The śloka says, the 3rd brahma united with the 14th vowel. Hence that tells us to add them sa + au.

The next part of the śloka's instruction says the following, 'and well joined with which comes at the end of the lord of vowels (Tithīśa).
Who is this Lord of vowels? It is 'a' or anuttara , the Supreme. And we know the owner of vowels is Śiva. He is 'anuttara' that which cannot be surpassed. That is one reason why Śiva is associated with 'a' the first letter and without it, no other letter comes forth. Hence Śiva is recognized as Tithīśa.

Note that Tithīśa is based on tithi and the digits (kalā) of the moon. We know there are 15 digits to the bright half of the month and 15 digits to the dark half of the month. It is said on the 16th digit that occurs, there is fullness purṇā, or pūrṇatā, wholeness. This wholeness is associated with Śiva , the 16th digit of the moon, and the 16th and is called visarga or ḥ ( some write aḥ).

Hence the instruction says, and well joined with which comes at the end of the lord of vowels (Tithīśa), this tells us to add ḥ.
Now the amṛtabīja = sa + au +ḥ = sauḥ.

The next post will go a bit deeper into the components sa + au +ḥ for a better appreciation of this mantra. After that we can review time duration outlined in the Parā-trīśikā Vivaraṇa applied to the amṛtabīja.

'All the mantras are of the nature of akṣara अक्षर (syllables or phonemes) and all the akṣara are the nature of Śiva…' Abhinavagupta.

words & references

praṇām

• post from another folder : http://www.hindudharmaforums.com/showpost.php?p=26550&postcount=30 + post 35 and 36
• dhyāna ध्यान- meditation
• dhāraṇā धारणा- fixity, the act of holding, singleminded-ness
• saṃketa संकेत -intimation , hint , allusion , preconcerted sign or signal or gesture ; from the root kṛ - to give a signal.
• amarta अमृत- immortal, imperishable, beautiful , beloved ; the nectar (conferring immortality , produced at the churning of the ocean)
• brahma ब्रह्म - The Supreme Brahman; brahma is used for the impersonal Spirit ( some say Absolute) and brahmā for the personal God.
• kalā कला - any single part or portion of a whole ,especially a sixteenth part (1/16th)
• More on Abhinavagupta-ji can be found at this HDF post : http://www.hindudharmaforums.com/showthread.php?t=3150&highlight=Abhinavagupta
• More on tithi : http://www.hindudharmaforums.com/showthread.php?p=26167#post26167
• More on sa :http://www.hindudharmaforums.com/showthread.php?t=3651

[yajvan]

hariḥ oṁ
~~~~~~

Namasté

Hence the instruction says, and well joined with which comes at the end of the lord of vowels (Tithīśa), this tells us to add ḥ.
Now the amṛtabīja = sa+au+ḥ = sauḥ.

The 10th śloka informs us of hṛdayaṃ bhairavātmahaḥ. That is, this sauḥ is hṛdayaṃ¹ - the heart of bhairava. We know ātman as essence, soul, and its use here points us in the correct direction of how 'heart' is being applied. The word naḥ we are informed when used in this manner means asmāka अस्माक or 'ours' - which implies 'our system' i.e. Bhairava āgama-s.

Now Abhinavagupta-ji says there is another way of looking at this: this sauḥ is the bhairavīya hṛdaya of the nara bhāva ( which is phenomenal existence, creation) and is of the essence ( the expression) of Śakti. This hṛdayaṃ is the essential nature (ātman) of all of reality, creation, some call this nara rūpasya and is permeated by Śakti.


That is why this amṛtabīja is attractive and is very prominent in the trika system. Svāmī Lakṣman-jū informs us¹ , to begin with you must understand that in the field of mantra-s, in the field of sacred words, the mantra that digests these 36 elements ( the 36 tattvas expressed in Śaivism) in its body is sauḥ.

But why does Svāmī-ji say digest? He says, this mantra shows you how to discard the 36 elements and in the end rest in the element (tattva) of Śiva. He continues, and says, the entire universe consisting of 36 elements resides in the mantra sauḥ. This mantra is called the heart mantra because it is the essence of all mantras. How is this so? In the same way that a clay bowl or clay plate are only produced by changing (the shape of) earthen clay, the essence of the bowl or plate continues to be clay.
Svāmī-ji goes deeper into this, but I think you get the point.

For an upcoming post, I think it will be time to address suśroṅi सुश्रोणि 'having beautiful hips' and how it fits into this view… The 10th śloka reads, tṛtīyam brahma suśroṅi hṛdayaṃ bhairavātmahaḥ .

praṇām

words & references

• hṛdaya हृदय - the heart or center or core or essence or best or dearest or most secret part of anything ; true or divine knowledge
• Self Realization in kaśmir śaivism, The oral teachings of Svāmī Lakṣman-jū , by John Hughes, page 87

[yajvan]

hariḥ oṁ
~~~~~~

Namasté

I mentioned in a post above

Note that Tithīśa is based on tithi and the digits (kalā) of the moon. We know there are 15 digits to the bright half of the month and 15 digits to the dark half of the month. It is said on the 16th digit that occurs, there is fullness purṇā, or pūrṇatā, wholeness. This wholeness is associated with Śiva , the 16th digit of the moon, and the 16th and is called visarga or ḥ ( some write aḥ).

I thought to add one more idea here with tithīśa and visarga. How are these two ideas connected? The sloka reads, it is tṛtīyam brahma or the 3rd brahma united with the 14th vowel and well joined with which comes at the end of the lord of vowels (Tithīśa).

Tithīśa
We know tithi is is the singular name given to one lunar day ( digit). Saying tithayaḥ (plural form), which is used in several places in Parā-trīśikā Vivaraṇa śloka-s is another way of saying 15. We know there are 15 tithi-s in the waxing, and 15 tithi-s in the wanning of the moon. Just as some one says 1 dollar, its another way of saying 100 pennies that make up a dollar, tithi is an accepted way of say 15.

Visarga
This end of vowels (svara) was called out as 16th and is called visarga or ḥ ( some write aḥ). This visagra विसर्गmeans 'producer' or expansion, it also means final emancipation , exemption from worldly existence, and it is a noun for Śiva.

This visarga seen as ḥ or aḥ is also written as two dots, one above the other like this : As usual this is a symbol.
The top dot is called saṃharātmaka and is considered the Moon (Soma) ; the bottom dot is called sṛṣtyātmaka and is considered the sun (Sūrya).
Saṃharātmaka means saṃhara संहर + ātmaka आत्मक = drawing together , contracting + belonging to or forming the nature of ( the essence of) i.e. consisting or composed of. Hence saṃharātmaka means the nature of contraction. We see this as the moon contracts to amāvāsya¹ or new moon.
Sṛṣtātmaka means sṛṣṭi सृष्टि + ātmaka आत्मक = letting go , letting loose , emission + belonging to or forming the nature of ( the essence of) i.e. consisting or composed of. Hence sṛṣtātmaka means the nature of emmission, creation - the projection or manifestatiuon of Śiva in this universe.

Śiva is known as opening and closing His eyes - this is expansion and contraction of the Universe - sṛṣtātmaka +saṃharātmaka is occuring. This is why Śiva also has the name of visarga and represented as two two dots :
This idea of expansion and contraction is the Sun + Moon ( sūrya + soma). The moon (as we know there is a moon above Śiva's head) represents His inward movement - the return movement of the universe back to it's source. Some call this praveśa-rūpa . Praveśa is entrance or penetration, and rūpa is outward appearance or form.

The Sun brings forth all things to exist - it is the souce, energy of life, the 'essence'. Sūrya brings expansion, light of creation. Sūrya is firmly associated with Śiva as the 'source'.
Another name for this expansion of creation is prasara-rūpa. Prasara + rūpa is stream , torrent , a flood i.e. expansion + form. So as Śiva opens His eyes prasara-rūpa occurs; there is a flood, an expansion of creation.
Sounding out : or visarga (ḥ)
visarga or visarjanīya विसर्जनीय is to be sent forth or emitted;
For us this is represented in speach as distinctly audible aspiration. It is considered un-unvoiced breath following a vowel AND is breathed through the mounth position of the vowel just used.

Lets use 'nama' and add visarga to the end namaḥ.When I say nama ( consisting of two syllables na + ma) at the end 'ma' I add the open mouthed aspiration releasing ḥ, using the SAME mouth form as the letter 'a', the last vowel , found at the end of 'ma'. So it may sound like this na+ma+ah. The 'ah' is the aspiration as if you had a 3 syllable pushing out the breath of air with the value of 'a' inside it.
I mention this as it occurs often, and for this subject matter visarjanīya विसर्जनीय comes at the end of sauḥ and is relevent to the conversation we have been pursuing.
In this case the audible aspiration comes with the mouth postioned in the 'u' format then comes visarga (ḥ).


yatsattatparamārthohi paramārthohoi paramārthastaḥ Śivaḥ
That which is existence (sattā) is the highest Reality, the universe
is of the nature of that Reality, therefore everything is Śivaḥ … Śṛi Somānanda

praṇām


references
More on this amāvāsya at this HDF post : http://www.hindudharmaforums.com/showthread.php?p=26167#post26167

[yajvan]

hariḥ oṁ
~~~~~~

Namasté

I mentioned in a post above

For an upcoming post, I think it will be time to address suśroṅi सुश्रोणि 'having beautiful hips' and how it fits into this view… The 10th śloka reads, tṛtīyam brahma suśroṅi hṛdayaṃ bhairavātmahaḥ .

There are a few ways to view the notion of suśroṅi सुश्रोणि 'having beautiful hips' :

• For the casual reader, this may be seen as a nice compliment that is offered.
• For another, this may be viewed a bit more insight-fully , that 'having beautiful hips' infers the woman in question would be good at child bearing.
• For the wise ( Abhinavagupta-ji) they look at it as suśroṅi hṛdayaṃ as yonirūpam (the female organ); In the state of Bhairava that indicates wholeness (purṇatā) of nara-bhāva or phenomenal reality, creation.

That is, if one considers this creation māyā, (the infinite measured out) it consists of pure consciousness. The key here is Bhairava includes Śakti and is not separate from it. It is this Śakti that brings about creation ( as the womb of existence, yonirūpam) and this Divine Energy is not separate from it.

So at the very heart (hṛdayaṃ) of Pure Consciousness, one finds this creative spark. The wise chose to use the symbol (saṃketam) of suśroṅi to offer how the creative impulse is non-different from or part of this Pure Consciousness - the source of all creative energy.

Now the shape of yoni is considered a triangle. This is why Śrī Devī or Śrī Bhairavī is known as the noble (nāyikā) 3 cornered One, the 3 corned triangle. And what of this 3 corners? It is considered Śiva, Śakti and nara (or all existence); some call this parā śakti, parāparā śakti, and aparā śakti. The center (madhya) of this triange is considered parātītā devī. That is, parā + atīta or parā परा the highest point + atīta अतीत gone by , past , over and beyond. This parātītā devī then is She that is beyond the highest. And what can that be ? Pure transcendental existence, pure sattā.

In practical terms - the notion is all of this creation is permeated ( omnipresent) by Pure Consciousness. But why is it no so apparent to ones every-day experience? Finite objects are there time-after-time taking up or capturing one's experience ( seeing, hearing, smelling, tasting, touching, thoughts, etc). There is multiple points of entry to stimulate one's awareness.

Where can this Pure Awareness then be experienced? Between any two experiences. The center (madhya) can be found between two experiences and the awareness of this center will be available to the aspirant ( with some culturing).
This is the junction point that we have been discussing on many posts¹. Grooming one's ability to take advantage of this gap, this viṣuvat विषुवत् - sharing both sides equally , being in the middle , middlemost ; many use this word as equinox - a balanced point. This is where this 4th state ( turiya) and beyond turiya resides.


praṇām


References
Gap and Junction point HDF post: http://www.hindudharmaforums.com/showpost.php?p=25833&postcount=28
This whole HDF string discusses turiya: http://www.hindudharmaforums.com/showthread.php?t=3312

[yajvan]

hariḥ oṁ
~~~~~~

Namasté


Now śloka-s 12 and 13 offer the timing ( the use ) of this mantra that has been in discussion. It says the yogī who has a mindfulness (smarate) of this mantra ( sauḥ) even for a muhūrta¹ is sealed with cumbaka¹ and binds ~ brings under his control~ the entire multitude of mantras and mudrā-s.

The key here is the time period of full mindfulness , full attention without wavering ( absorption) for 1 muhūrta. Another key word is used in the śloka-s ( 11, 14, etc), that of uccāra. Uccāra उच्चार is utterance, pronunciation, to recite or sound. Uccāra is used In the śloka-s to inform proper utterance, form, and sounding of sauḥ i.e. using it correctly is required.

The idea here is the time that one is absorbed and properly using the mantra i.e. samyak (in the same direction) uccāra (utterance). The point I wish to make is, other japa and upāṃśu jāpa (i.e. secretly or in secret; this implies in the mind 'secret') may suggest 1 lac (lakśa लक्ष; 1 lac =100,000) of repetitions. This instruction is for 1 muhurta. but why so?

What has not been discussed is the quality of the aspirant. The śloka-s suggest it is the one that knows Rudra , or one possessed of the Self, that makes this mantra bear maximum fruit. This makes all the difference in the offer, approach and results.

Abhinavagupa-ji makes the following comment:
When by uccāra of this mantra the yogī becomes totally absorbed in prāṇa, then by that alone the mantra-s and the mudrā-s which are the embodiment of knowledge (jñāna) and activity (kriyā) turn towards the yogī who is reciting the mantra and offer him all that he desires.

We will take this idea further in an upcoming post.

praṇām

words

• smarate or smārta स्मार्त - is relating to memory , from smṛ स्मृ to be mindful of, to call to memory, to remember.
• muhūrta मुहूर्त - is 1/30th of the day which is equal to 48 minutes.
• cumbuka चुम्बक - cumba चुम्ब is kiss; one who kisses much ; in this case it means the embrace of śakti cakra ; called śākta (or śakta) sparśa (शक्त स्पर्श) - one competent for or capaible of being touched, the embrace of śakti.

[yajvan]

hariḥ oṁ
~~~~~~

Namasté

Why then is this is mantra sauḥ so attractive to consider?

It is said¹, as among figures, the 4-armed Viṣṇu, the 3-eyed Śiva, etc. among spirituous liquors, surā, āsava etc. lead one forcibly as it were to the state of Bhairava, among all the akṣara (~ phonemes, sounds, letters) 'sa' leads to the state of Bhairava.

The Parā-trīśikā Vivaraṇa 19th śloka offers another idea.
It says:
adṛṣṭamandalo'pi evaṃ yaḥ
kaścid vetti tattvataḥ sa
siddhibhāgbhaven nityaṃ
sa yogī sa ca dīkṣitaḥ ||
Whosoever knows truly ( this bījamantra sauḥ ) even if he has not seen (adṛṣṭa) the mandala, enjoys the success (yaḥ kaścid) of perfection (siddhi) eternally. He is (perfect) yogī, he is (really) (~ vetti or vedi - wise man) initiatated (dīkṣitaḥ).

Some key words for discussion:
The notion of manḍala has two meanings. We know a manḍala is a diagram or shape with spiritual significance. It also can infer a system of nerves where praṇa travels - subtle energy , subtle experiences within. Some may suggest this is part of the nāḍī¹ system.
adṛṣṭa अदृष्ट - is unseen, unknown , unsanctioned. This is the one who has not jointed the association of yoginī-s.
Yet this word is coupled with manḍala. Together, adṛṣṭa + manḍala , suggests one who has not perceived this group of nerves by yogic practice.

It also suggests an actual manḍala called the triśulābjamaṇḍalam - or the manḍala (maṇḍalam) of the trident (triśulā) and lotuses (abja is born in water i.e. lotus). This manḍala was used at times during dikṣā (dīkṣitaḥ as it appears in the sloka above) or initiation.

This then suggests (IMHO), even the person who has not been 'offically' introduced to this mantra in accordence with the rites and rules may still apply it. It comes by the grace of Bhairava and may be considered dikṣā in the sense of di + kṣā ( offered by Abhinavagupti-ji). That is dī (दी) to shine forth ,insight that is imparted + kṣa ( क्ष) to destroy i.e. sin of ignorance that is destroyed.


Then there is the age old argument that is offered many times ( of which I do not have the origin of this sloka)...
svayaṃgrhita mantrāsca klisyante cālpabuddhayaḥ
lipisthitastu yo mantro nirviryaḥ so'trakalpitaḥ ||
People with little intelligence who adopt a mantra by
themselves i.e. without being imparted by a guru, get into trouble.
That mantra which is simply recorded in a book is without any power.
This is what is declared here.

Yet in this work, Parā-trīśikā Vivaraṇa, suggests this 'rule' applies to mantra-s other then sauḥ. Why so? because it is the very heart (hṛdaya) of Bhairava.


praṇām


words

• nāḍī नाडी- nerve channel; the word itself means the tubular stalk or any tubular organ; It is used to describe the 72,000 nerve channelsfound within the human structure. The 'central nerve' is called the suṣumnā.
• vedi वेदि- a wise man , teacher , Pandit ; knowledge , science
• 'It is said' - from āgamādhikāra 2a.12, referenced in Parā-trīśikā Vivaraṇa's review of śloka-s 9-18.

[yajvan]

hariḥ oṁ
~~~~~~


Namasté

I mentioned in post #5 above ,

What has not been discussed is the quality of the aspirant. The śloka-s suggest it is the one that knows Rudra , or one possessed of the Self, that makes this mantra bear maximum fruit. This makes all the difference in the offer, approach and results.

Rudra is considered one who can successfully keep off or destroy the bonds of māyā. The hints given to us by Abhainavagupti-ji on this matter are the following:
Ru + dra. Ru suggests 'rodhana' and dra denotes 'dravana'.

• rodhana रोधन - stopping , restraining , checking , preventing , impeding . Some call this saṃhāra or disolution (withdrawal).
• drāvaṇa द्रावण- causing to run or the act of causing to run and is associated with sṛṣṭi or emmission (creation, expansion).

Thus the yogī is Ru + dra, withdrawn in ( arresting or stilling the senses) and expansion of SELF is allowed to take place.

praṇām

[yajvan]

hariḥ oṁ
~~~~~~

Namasté

I wrote in post #6 above,

Then there is the age old argument that is offered many times ( of which I do not have the origin of this sloka)...
svayaṃgrhita mantrāsca klisyante cālpabuddhayaḥ
lipisthitastu yo mantro nirviryaḥ so'trakalpitaḥ ||
People with little intelligence who adopt a mantra by themselves i.e. without being imparted by a guru, get into trouble. That mantra which is simply recorded in a book is without any power. This is what is declared here.

Who (then) may support your spiritual unfoldment?

• There is the dīkṣā guru who can deliver initiation to the śiṣyaka¹ (student). They are considered fully-realized beings on this good earth.
  I will use Abhinavagupti-ji-s view on this word:
  • di + kṣā . That is, dī (दी) to shine forth, insight that is imparted + kṣa ( क्ष) to destroy i.e. the sin of ignorance that is destroyed; ignorance of not knowing SELF.
  • The verb base is 'diks' is to consecrate , coming from the word 'daks' or to grow or increase.
  • dī - means diyate jñānam or insight is imparted
  • kṣā - is kṣiyate pāpam or sin is destroyed

This dīkṣā comes about by initiation or śaktipāta ( śakti or energy, power, force + pāta or application, falling, casting or directing), hence the casting of or falling of this energy or force, this illumination from the guru to the śiṣyaka, may receive the grace ( anugraha) of Śiva.

From this anugraha, Śiva creates Masters and śiṣya-s (those to be taught) via His śaktipāta¹.
Let me offer a few ideas from a Kaśmir Śaivism point of view and Svāmi Lakṣman-jū's teachings. Listed below are the first 3 śaktipāta-s , there are 6 recognized all together ( the other 3 will be supplied if there is interest).

• tīvra-tīvra-śaktipāta - this is the highest level, and therefore called Super Supreme Grace - Its called as such as tīvra ( strong, intense) is repeated twice in the name. This śaktipāta produces immediate identity with Śiva and liberation; Yet due to the extreme intensity of this grace the physical body dropped; This individual becomes a siddha master says Svāmi-ji. From this position this being bestows grace from his abode (Siddhaloka), directly into the heart of deserving aspirants.
• tīvra-madhya-śaktipāta - the next level is Supreme Medium Grace i.e. tīvra ( strong, intense) + madya or central, medium. Such an individual becomes spiritually illuminated and liberated on his own, relying directly on Śiva, not needing initiation or instruction from another or guru. This is facilitated by his/her awakening of his spiritual intuition (pratibhā) which immediately eliminates ignorance or any blemishes (mala).
• tīvra-manda-śaktipāta - the next level is considered Inferior or Lower Supreme Grace - note tīvra +manda which is slow, gentle, slight. The person who receives this grace strongly desires to find the feet of his spiritual guru. Who does he find? Svāmi Lakṣman-jū suggests he is directed to the guru that received tīvra-madhya-śaktipāta ( the 2nd śaktipāta just reviewed above). Yet this aspirant does not need instruction; What then occurs? A simple touch, a look, simply being in the presence of his master is enough to trigger in him into the state of illumination. This individual need not puruse japa or dhyāna ( contemplation or meditation) as his dīkṣā¹ is complete.

Are there other guru-s?

• ṛtvic guru - ṛtvic (IMO) comes from two notions: ṛtviya or being in proper time and ṛkva meaning praising. This guru is subordinate to the Dīkṣā guru. The person can initiate on behalf of the Dīkṣā Guru ( in the proper time or ṛtviya, conditions)
• śiṣṭa शिष्ट guru - a learned or well-educated (disciplined , cultured , educated , learned ) or wise man/woman and teaches various categories of knowledge. Some write śīkṣā from śīk to sprinkle, or rain fine drops ( implying knowledge and purification)
• cetas चेतस् guru- consciousness , intelligence; splendor. This guru lies within - paramātman ( the SELF). Some associate this
  with jagad-guru or Parameśvara ( the Supreme Lord).
  The Bhāgavad gītā (10.20, 6.29, etc.) informs us that Kṛṣṇa is seated within us all ( sarva = altogether , wholly , completely + bhūta= that which is or exists , any living being). Hence the Divine, jagad-guru, within.
  Some write this as cetaḥ guru.

praṇām

words

• śiṣya is to be taught; the śiṣyaka is a pupil
• śaktipāta शक्तिपात- defined as prostration of strength, it is the transfer of śakti or energy from a higher source to another i.e.
  śakti power, ability, strength, might, effort, energy, capability + pāta alighting, descending or causing to descend, casting or throwing upon, cast, fall
• tīvra तीव्र is strong, intense, pervading
• madhya मध्यis middle, central, middlemost , intermediate, central
• manda मन्दis slow,softly, slight or slack, gentle. Also note manda is another name of śani, mandi, the slow moving one.
• pratibhā प्रतिभा- light, splendour; to come in sight, present or offer one's self