Stanzas on Vibration

Mark S. G. Dyczkowski took his first degree at Banaras Hindu University and then his doctorate at Oxford. He is presently associated with Sampurnananda Sanskrit University in Varanasi. He is the author of The Doctrine of Vibration: An Analysis of the Doctrine and Practices of Kashmir Shaivism; The Canon of the Saivagama and the Kubjika: Tantras of the Western Kaula Tradition; and The Aphorisms of Shiva: The Shiva Sutra with a Commentary by Bhaskara, all published by SUNY Press.

"This is a wonderful continuation of his previous work, The Doctrine of Vibration. Through this book, general readers can go to the original sources." — Rajmani Tigunait

• Preface Acknowledgments The Stanzas on Vibration List of Abbreviations Part I Introduction Chapter 1. General Background Chapter 2. The Beginnings of Kashmir Saivism Chapter 3. The Origin of the Aphorisms of Siva Chapter 4. Basic Features of the Stanzas on Vibration Chapter 5. The Authorship of the Stanzas on Vibration Chapter 6. The Commentators on the Stanzas on Vibration Kallatabhatta Rajanaka Rama Bhagavadutpala Bhaskara Ksemaraja Other Commentators and Commentaries Chapter 7. The Doctrine of Vibration and Recognition Pratyabhijna in the Commentary by Bhagavatdutpala Recognition and the Pulse of Consciousness Self Awareness, Own Being and Egoity. Chapter 8. Spanda, Krama and Sakti : The Vibration of Consciousness and Its Power Part II Commentaries and Exposition Chapter 9. The Essence of Vibration, the SpandaSamdoha, by Ksemaraja Chapter 10. The Stanzas on Vibration with the Brief Explanation, the Spanda Vrtti, by Kallatabhatta and the Extended Explanation, the Spanda Vivrti, by Rajanaka Rama The First Flow called The Instruction Concerning the Tenability of (the Self's) Independent Existence Stanza One Stanza Two Stanza Three Stanza Four Stanza Five Stanza Six and Seven Stanza Eight Stanza Nine Stanza Ten Stanza Eleven Stanza Twelve Stanza Thirteen Stanza Fourteen Stanza Fifteen Stanza Sixteen The Second Flow called The Direct Perception of One's Own Independent Nature Stanza Seventeen Stanza Eighteen Stanza Nineteen, Twenty, and Twenty-One Stanza Twenty-Two Stanza Twenty-Three and Twenty-Four Stanza Twenty-Five Stanza Twenty-Six and Twenty-Seven The Third Flow called The Tenability of the Power of One's Own Universal Nature Stanza Twenty-Eight, Twenty-Nine, and Thirty The Fourth Flow called The Perception of Unity Stanza Thirty-One Stanza Thirty-Two Stanza Thirty-Three and Thirty-Four Stanza Thirty-Five Stanza Thirty-Six and Thirty-Seven Stanza Thirty-Eight Stanza Thirty-Nine Stanza Forty Stanza Forty-One Stanza Forty-Two Stanza Forty-Three Stanza Forty-Four Stanza Forty-Five Stanza Forty-Six Stanza Forty-Seven Stanza Forty-Eight Stanza Forty-Nine and Fifty Stanza Fifty-One Stanza Fifty-Two Condusion Chapter 11. The Stanzas on Vibration with a Commentary called the Lamp of Spanda, the SpandaPradipika, by Bhagavadutpala Introductory Verses Stanza One Stanza Two Stanza Three Stanza Four Stanza Five Stanza Six and Seven Stanza Eight Stanza Nine Stanza Ten Stanza Eleven Stanza Twelve and Thirteen Stanza Fourteen Stanza Fifteen Stanza Sixteen Stanza Seventeen Stanza Eighteen Stanza Nineteen Stanza Twenty Stanza Twenty-One Stanza Twenty-Two Stanza Twenty-Three, Twenty-Four, and Twenty-Five Stanza Twenty-Six Stanza Twenty-Seven Stanza Twenty-Eight and Twenty-Nine Stanza Thirty Stanza Thirty-One Stanza Thirty-Two Stanza Thirty-Three and Thirty-Four Stanza Thirty-Five Stanza Thirty-Six and Thirty-Seven Stanza Thirty-Eight Stanza Thirty-Nine Stanza Forty Stanza Forty-One Stanza Forty-Two Stanza Forty-Three Stanza Forty-Four Stanza Forty-Five Stanza Forty-Six Stanza Forty-Seven Stanza Forty-Eight Stanza Forty-Nine and Fifty Stanza Fifty-One Stanza Fifty-Two Stanza Fifty-Three Chapter 12. Exposition of the Stanzas Stanza One Stanza Two Stanza Three Stanza Four Stanza Five Stanza Six and Seven Stanza Eight Stanza Nine Stanza Ten Stanza Eleven Stanza Twelve and Thirteen Stanza Fourteen Stanza Fifteen and Sixteen Stanza Seventeen Stanza Eighteen Stanza Nineteen, Twenty, and Twenty-One Stanza Twenty-Two Stanza Twenty-Three, Twenty-Four, and Twenty-Five Stanza Twenty-Six and Twenty-Seven Stanza Twenty-Eight and Twenty-Nine Stanza Thirty Stanza Thirty-One Stanza Thirty-Two Stanza Thirty-Three, Thirty-Four, and Thirty-Five Stanza Thirty-Six and Thirty-Seven Stanza Thirty-Eight Stanza Thirty-Nine Stanza Forty Stanza Forty-One Stanza Forty-Two Stanza Forty-Three Stanza Forty-Four Stanza Forty-Five, Forty-Six, and Forty-Seven Stanza Forty-Eight Stanza Forty-Nine and Fifty Part III Aspects of Spanda Yoga Chapter 13. The Means to Realization Chapter 14. The Transition of the Moment and the Sixteen Phases of Perception Chapter 15. The Principles of Passion, Pervasion, and the Stainless Part IV Appendices Appendix 1. The Sources Appendix 2. Location of References to the Stanzas on Vibration Appendix 3. The Sanskrit Text of the SpandaKarika Notes Bibliography Index