2023-02-16 06:27:22 by ambuda-bot
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INTRODUCTION
43
philosophy and sadhana We have seen how the three
great pillars of Tantrik teaching-the Panchindasi
mantra, the Kundalini yoga and the Sri Chakr-stand
out prominently in this noble and imposing structure
of many halls and apartments which can give shelter
to various classes of the devotees of the eternal
Mother-Sri mata, Sri mahn-rajni, Srimat simhisnes-
vari
XVIII
As a literary form, the Sahasranama is peculiar to
Sanskrit literature, like the sutra and the sam
Probably is a set-off against the prolisities and wild
exaggerations of our popular literature, we have these
elliptical, mnemonic literay forms from which every
unnecessary word is removed in the Sahasranama the
poet has to express his religicus feelings and his philo-
sophy of life, as well as his theological beliefs, through
the names he coins for his deity He has no room here
for the elaboration of his subject, not even for
logical connection between one statement and another
Topics have to be huddled together, like the words
in a sarrasa, without any connecting links And, in
Sahasranama, when samisas themselves are huddled
together without even conjunction, the resulting
structure is like a building in which the walls are
formed by neatly chiselled stones being placed one
above the other without any mortar or cement between
them Hence, as a literary form, the Sahasranamn has its
own abous disadvantages as well as advantages If it
encourages brevity and restraint, it also encourages in-
43
philosophy and sadhana We have seen how the three
great pillars of Tantrik teaching-the Panchindasi
mantra, the Kundalini yoga and the Sri Chakr-stand
out prominently in this noble and imposing structure
of many halls and apartments which can give shelter
to various classes of the devotees of the eternal
Mother-Sri mata, Sri mahn-rajni, Srimat simhisnes-
vari
XVIII
As a literary form, the Sahasranama is peculiar to
Sanskrit literature, like the sutra and the sam
Probably is a set-off against the prolisities and wild
exaggerations of our popular literature, we have these
elliptical, mnemonic literay forms from which every
unnecessary word is removed in the Sahasranama the
poet has to express his religicus feelings and his philo-
sophy of life, as well as his theological beliefs, through
the names he coins for his deity He has no room here
for the elaboration of his subject, not even for
logical connection between one statement and another
Topics have to be huddled together, like the words
in a sarrasa, without any connecting links And, in
Sahasranama, when samisas themselves are huddled
together without even conjunction, the resulting
structure is like a building in which the walls are
formed by neatly chiselled stones being placed one
above the other without any mortar or cement between
them Hence, as a literary form, the Sahasranamn has its
own abous disadvantages as well as advantages If it
encourages brevity and restraint, it also encourages in-