Shodasi mantra

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SHODASHI OR MAHASHODASI MANTRA

The worship of Devi in Srichakra is regarded as the highest form of the Devi worship. Originally
Lord Shiva gave 64 Chakras and their Mantras and Tantras to the world, to attain various
spiritual and material benefits. For his consort Devi he gave the Shreechakra and the highly
coveted and the most powerful Shodashakshari mantra, which is the equivalent of all the other 64
put together. That is why Sri Yantra is called Yantra-raj or King of the Yantras, Srividya tantra is
called Tantra-raj and the Shodasi Mantra is called Mantra-raj.

Many scriptures proclaim that Shodasi worship is the only one which grants the sadhaka both
iham and param, i.e., Material and spiritual benefits.

The Srividya or Shodasi Vidya was 1st taught in Satya Yuga by Lord Hayagriva to Agastya and
his wife Lopamudra. This is as per the Vaidic-achara or Vedic tradition. Again in Treta yuga it
was given to Lord Parashurama by Dattatreya who was the combined incarnation of Brahma,
Vishnu and Maheswara and considered the greatest incarnation. Lord Parashurama gave it to his
disciples and it is called Parashurama Kalpa Suktam. This is as per the Kaulava-achara or
Kaulava tradition. I studied both and found that except for the tradition based variations 95% is
same. There is also a Vaishnava-achara Srividya. I am yet to find someone who can teach me
this.
The full ritualistic tantric worship of Srividya can bestow many siddhis to the sadhaka and hence
is given by gurus only to tested disciples so that it is not misused. However one can do the japa
of the great Shodasi mantra without any restrictions and can immensely benefit from it.

The following is the great Shodasi mantra. It is a 28 letter mantra and Om is added in the
beginning and Namah is added at the end. Without Om and Namah it is called Shodasi and with
Om and Namah it is called Mahashodasi. Though it has 28 letters it is called Shodasi or
Shodasakshari meaning 16 letters. This is because though the lines lines 4, 5 & 6 have 5, 6 & 4
bijas, they are called 3 Kootas or combined bijas.

MAHA SHODASHI MANTRA  महाषोडशी मन्त्र

1. Om – ॐ

2. śrīṁ – hrīṁ – klīṁ – aiṁ – sauḥ:  श्रीं ह्रीं क्लीं ऐं सौः 

3. om – hrīṁ – śrīṁ ॐह्रींश्रीं (3 bījas)

4. ka – e – ī – la- hrīṁ कएईलह्रीं (5 bījas)

5.  ha – sa – ka – ha – la – hrīṁ हसकहलह्रीं (6 bījas)

6. sa – ka – la – hrīṁ सकलह्रीं (4 bījas)

7. sauḥ – aiṁ – klīṁ –  hrīṁ – śrīṁ सौःऐंक्लींह्रींश्रीं (5 bījas)

8. Namah नमः 

It is always good to understand the meaning and significance of the mantra. The following are
the details of the Maha Shodasi Mantra.

First line:  om – śrīṁ – hrīṁ – klīṁ – aiṁ – sauḥ (ॐ श्रीं ह्रीं क्लीं ऐं सौः)

Place śrī bīja, then place māyā bīja, then kāma bīja, then vāgbhava bīja and finally parā
bīja. Thus the first line of this mantra is formed.

Any mantra should start with ॐ. Kulārṇava Tantra (XV.57) says that not beginning a mantra
without ॐ causes impurity of birth. Further, Chāndogya Upaniṣad begins by saying “om iti etat
akṣaram udgītham upāsīta ॐ इति एतत ् अक्षरम ् उद्गीथम ् उपासीत”. This means “this ॐ is closest
to Brahman and recite this syllable as part of your worship”. The Vedas begin with ॐ. Going by
the interpretation of Chāndogya Upaniṣad, ॐ at the beginning refers to Brahman. Māṇḍūkya
Upaniṣad (1) also says that ॐ is both the cause and the effect. Therefore, ॐ should be prefixed
to mahāṣoḍaśī mantra, without which the mantra becomes ineffective. Further reasoning is given
while discussing sauḥ*.

Next to ॐ is śrīṁ (श्रीं), which is known as śrī bīja or Lakṣmī bīja. This is one of the most
important bīja of mahāṣoḍaśī mantra.  Bīja śrīṁ is capable of providing auspiciousness. It
promotes positive attitude and positive growth in the mind of the aspirant. This bīja is the root
cause for faith, devotion, love and ultimate surrender unto Her. First, one has to have to faith in
divinity. This faith later transforms into devotion. When the devotion is strong, it turns into Love
for Her. This love alone makes the aspirant to surrender unto Her. As śrī bīja is the cause for
surrender unto Her, it leads the aspirant to liberation. Śrīṁ comprises of three letters śa + ra + ī +
nāda(m) + bindu (dot) (श + र + ई and बिन्द)ु , where śa refers to Mahālakṣmī (Goddess of wealth),
ra refers to wealth; ra bīja is also known as agni bīja and is capable of offering supernatural
powers. Nāda is Consciousness about to manifest as the universe. It also means subtle sound.
This can be best explained by ṁ. There is no other way to explain this. It is like humming nasal
sound. The sound made after closing both the lips is nāda. Without nāda, bindu cannot be
effective as bindu cannot be pronounced separately. Nādabindu refers to the union of Śiva and
Śakti, where Nāda means Śakti and bindu means Śiva.  The dot (bindu) above this bīja removes
sorrows and negative energies in the mind of the aspirant.   Based on this fact, it is said
that Ṣoḍaśī mantra is capable of offering liberation or mokṣa. It is also said, “Ṣoḍaśī mantra
kevalaṁ mokṣa sādhanam”, which means that onlyṢoḍaśī mantra offers liberation, which is the
ultimate goal of everyone. Since liberation is not attainable that easily, Ṣoḍaśī mantra is said to
be highly secretive in nature.

Next to श्रीं is hrīṁ ह्रीं, which is also known as māyā bīja. This is the combination of three letters
ha + ra + ī and nāda and bindu (ह + र + ई + nāda + bindu. Ha refers to Divine Light of Śiva
which also encompasses prāṇa and ākāśā, two important principles without which we cannot
exist. The second component of hrīṁ is ra (र) which is also known as agni bīja. To the properties
of ha, now the properties of ra are added. Properties of ra are fire (the fire that is needed for our
sustenance), dharma (Agni is known for dharma) and of course agni, itself.  It is said that when
sun sets, it hands over its fire to Agni and takes it back when the sun rises again next day. Thus
Agni also becomes a sustainer, like the sun. Śiva is also known as Prakāśa, the original divine
Light. Third of part of hrīṁ is ī which focuses the aspirants energy and motivate him to pursue
the path of dharma. Nāda refers to Universal Mother (the one who reflects the Light of Śiva to
the world and She is also known as Vimarśa, meaning reflection, intelligence, etc) and the bindu
(dot) is the dispeller of sorrow, which actually means dispelling innate ignorance, the reason for
our sorrows.

Hrīṁ ह्रीं is also known as Bhuvaneśvarī bīja. Bhuvana means the earth and Īśvarī means the ruler.
She is known as Bhuvaneśvarī because, She rules the earth. Ha means Śiva and ra means Prakṛti
(which can be explained as Nature or original substance. Lalitā Sahasranāma 397 is
Mūlaprakṛtiḥ, which is explained here). Ī means Mahāmāya, the Divine Power of illusion. Nāda
means Śrī Mātā, the Universal Mother.  The dot, known as bindu is the dispeller of sorrows.
Therefore, hrīṁ can also be explained thus: Śiva (ha) and Śakti (ra) unite to cause creation (nāda)
making a person afflicted with illusion. This illusion can be removed by both of them, if an
aspirant contemplates them and this removal of ignorance is done through bindu or dot.

Next to hrīṁ ह्रीं is klīṁ क्लीं, which is known as kāma bīja. This bīja draws divine energy towards
the aspirant. It acts like a magnet. This bīja is known as power of attraction. Kāma here does not
mean lust, but means the desire to get into the state of Bliss (one among the four puruṣārtha-s.
Four puruṣārtha-s are dharma, artha, kāma and mokṣa). It completes the process of desire to
attain Her. Attaining Her and entering into the state of Bliss go together. It increases the level of
devotion. This bīja has got three parts – ka + la + am. Ka refers to desire to achieve Her Grace, la
refers to contentment in one’s life, which reduces our desires and attachments and am gives
happiness and joy. There are interpretations that ka also refers to Lord Kṛṣṇa. It is the bīja
through which Śiva shows His Love for Her.

In the above three bījas, kāmakalā īṁ (ईं) is hidden. Kāmakalā can be explained through the
innermost triangle of Śrī Cakra around the bindu (the innermost dot in Śrī Cakra). This dot
represents Mahākāmeśvara-Mahākāmeśvari who are identical in all respects. They are seated in
this dot, known as bindu. From the bindu, because of their union, eternal creation is takingplace
in the innermost triangle. The three sides represent Prakāśa (Light of Śiva), Vimarśa (diffusion of
the Light of Śiva done by Śakti) and third side of the triangle represents “I am” and “this” (aham
and idam). Thus, because of kāmakalā, these bījas become capable of creation.

Next to क्लीं is aiṁ ऐं, which is known as vāgbhava bīja. It is the bīja of Sarasvati, Goddess of
Knowledge.  It has two parts ai + ṁ. ṁ also acts as the dispeller of sorrow. This bīja also
represents one’s Guru, who is the dispeller of ignorance and as a result of this bīja, one attains
the highest spiritual knowledge. It also adds motivation, will power and dedication to the
aspirant. This bīja is the cause for spiritual intellect (buddhi). Mainly intellect refers to the
highest level of spiritual knowledge. It directly takes an aspirant to the concerned deity by
increasing his level of awareness (consciousness).

Next to ऐं is sauḥ सौः, known as parā bīja. This is also known as hṛdayabīja or amṛtabīja. Śiva
explains to Śakti about this in Parā-trīśikā-vivāraṇa (verses 9 and 10), a Trika Scripture. He says
to Her, “O! Gracious one! It is the third Brahman (sat or sa स) united with the fourteenth
vowel औ (au – out of the sixteen vowels), well joined with that which comes at the end of the
lord of vowels (visarga or : – two dots one above the other, used in the sixteenth vowel अः – aḥ).
Therefore sauḥ is formed out of the combination of sa स + au औ+ ḥ = sauḥ सौः. In Parā-trīśikā-
vivāraṇa (verse 26), it is again said, “He, who knows this mantra in its essence, becomes
competent for initiation, leading to liberation without any sacrificial rites.” This is known as
nirvāṇa dīkṣā or initiation for final liberation, where nirvāṇa means emancipation.  The Scripture
proceeds to say that the one who elucidates the proper meaning of this bīja is known as Śiva
Himself. This bīja is the Cosmic pulsation of the Lord.

The third Brahman referred here (sat) is explained in Bhagavad Gītā (XVII.23 – 26) “ॐ, tat and
sat are the threefold representation of Brahman and from That alone Vedas, Vedic scholars and
sacrificial rites have originated. Hence, during the acts of sacrifices, gifts, austerities approved by
Scriptures and during Vedic recitations, ॐ is uttered in the beginning*. tat is recited by those
who aim for liberation while performing sacrificial rites, austerities and charities without intent
on the fruits of these actions. Sat is recited by those who perform the above acts with faith and on
behalf of the Brahman.”

Thus sa स (sat) referred in this bīja is Śiva Himself, which represents His creative aspect, the
pure Consciousness. Next comes His three energies Icchāśakti, Jñānaśakti and Kriyāśakti.
During Creation, Cit Śakti of Śiva, after manifesting as Ānanda Śakti (Bliss) becomes the above
referred three Śakti-s, before entering into the sphere of Māyā. Ānanda Śakti is known as Śakti,
normally referred as Śiva’s Consort or His Svātantraya Śakti, His exclusive and unique Power of
Autonomy. These three powers can be explained as subject “I”, object “That”,and subject-object
or I and That. These powers of Śiva are also known as Sadāśiva, Iśvara and Suddha Vidyā. Now
the fusion between S and AU takes place and सौ (sau) is formed. As a result of this fusion,
creation happens, which is represented by visarga – two dots one above the other like the
punctuation mark colon : .This is the Spanda or throb or pulsation of the Divine towards creation,
causing the emission of His three energies contained in AU. With the addition of visarga ḥ : at
the end of सौ (sau) becomes सौः (sauḥ). This parābīja is not meant for recitation or repetition but
for the contemplation of Śiva, who alone is capable of offering liberation by removing all
differentiations caused by māyā. The one who fully understandsthe significance of सौः (sauḥ)
becomes instantly liberated.

Thus these five bījas form the first line of Mahāṣoḍaśī mantra.

Second line of Mahāṣoḍaśī mantra is formed by placing praṇava, māyā bīja and śrī bīja and
the second line appears like this: 

om – hrīṁ – śrīṁ: ॐ – ह्रीं – श्रीं.

ॐ used at the beginning of the mantra refers to the Supreme Self, known as Brahman. The
second ॐ placed here represents the individual soul. Thus, this ॐ is to be replaced with
ātmabīja, which is given by one’s guru either at the time of initiation or earlier. Everyone will
have ātmabīja, which is derived based on several factors. In case one’s guru has not given any
ātmabīja to an aspirant, he can continue to use ॐ as his ātmabīja. The three bījas used here refer
to three stages. ॐ is apara stage or the individual soul. Hrīṁ represents the union of Śiva and
Śakti and is known as parāpara (the stage of cause and effect). The last bīja śrīṁ is the stage of
para, the Supreme energy, the state of Supreme Paramaśiva, where Śakti stands merged with
Śiva and in this stage, She cannot be identified as a separate entity. For attaining liberation, one
has to merge into Paramaśiva. In other words, individual soul (ॐ), transcend māyā, which is
represented by hrīṁ, where both Śiva and Śakti are present as separate energies. The aspirant
through sādhana (practice) goes past māyā, represented by bīja hrīṁto merge with the Supreme
Self, represented by the third bīja śrīṁ. Only in the second line of mahāṣoḍaśī mantra, liberation
is explicitly declared.

Third, fourth and fifth lines of the Shodasi mantra are also known as the Pañcadaśī mantra.

PAÑCADAŚĪ MANTRA – पञ्चदशीमन्त्र –

The main mantra of Lalitāmbikā is Pañcadaśī which consists of fifteen bījas.  A bīja need not be
a single Sanskrit alphabet.  It could be a combination of alphabets. For example, sa is a bīja and
it is a single alphabet, whereas hṛīṃ is also a bīja but a combination of many alphabets.  Each
alphabet in Sanskrit has a meaning.  If we take the first letter a in Sanskrit alphabet, it conveys
many things.  It is the origin of (OM); it also means unification, non-destruction, etc.  The
interpretation of meaning for such bījas mostly depends on the context in which it is used. 
Pañcadaśa means fifteen.  Since this mantra has fifteen bījas, it is called as Pañcadaśī. Pañcadaśī
mantra consists of three groups consisting of bījas and each line is called kūṭa or group.  The
three kūṭa-s are known as vāgbhava kūṭa, kāmarāja kūtā or madhya kūṭa and śakti kūtā. 
Vāgbhava kūṭa represents Lalitāmbikā’s face, kāmarāja kūṭa represents the portion between Her
neck and hip and the last one śakti kūṭa represents the portion below Her hip.  The whole form of
Lalitāmbikā is made up of these three kūṭas.  This is one of the reasons why Pañcadaśī is
considered as very powerful.  These three kūṭa-s are joined in such a way that an inverted
triangle is formed which represents Her yoni, the source of the universe. This is why this mantra
is considered as highly secretive.  Vāgbhava kūṭa is the right side of this triangle, kāmarāja kūṭa
the upper side and śakti kūṭa forms the left side of the triangle. 

Vāgbhava kūṭa consists of five bījas viz. ka-e-ī-la-hrīṁ . कएईलह्रीं (5 bījas)

Madhya kūṭa consists of six bījas viz. ha-sa-ka-ha-la-hrīṁ. हसकहलह्रीं. 

śakti kūṭa consists of four bījas viz. sa-ka-la-hrīṁ सकलह्रीं. 

Thus, we have fifteen bījas of Pañcadaśī.  This mantra is not revealed by these bījas, but by the
following verse in Sanskrit.

kāmo yoni: kamalā vajrapāṇirguhāhasā matariśvābhrāmindraḥ|

punarguhāsakala māyayā ca purucyeṣā viśvamātādividyā||

This is the verse where in the fifteen bījas of Pañcadaśī are hidden.  This is a clear indication of
the highly secretive nature of this mantra.  From this verse, the fifteen bījas of Pañcadaśī are
arrived thus.  kāman (ka) yoni: (e) kamalā (ī)vajrapāniṛ (la)-guhā (hrīṃ) ha (ha) sā (sa)
mathariśvā (ka) abram (ha) indraḥ (la)|  punar (punar means again) guhā (hrīṃ) sakala (sa,ka,la)
māyayā ca  (hrīṃ) purucyeṣā viśvamātādividyā.

The first kūṭa has five bījas ka-e-ī -la- hrīṃ.  All the three kūṭas end with hrīṃ and this hrīṃ is
called hṛllekha.  A lot of importance is attached to this hṛllekha which is also called as māyā
bīja.  Vākbhava kūṭa is also known as agni khaṇḍa and indicates jñāna śakti of Lalitāmbikā.  Ka
means Brahma, the creator. e means Sarasvatī the goddess of jñāna. ī means Lakṣmī, la means
Indra and hrīṃ means the merger of Śiva and Śaktī. The bīja ka is the root of kāma bīja klīṁ
(क्लीं).  ka also bestows peace and prosperity to the sādaka.  The next bīja e prevents misfortunes
to the sādaka.  ī bestows wealth and all good things to sādaka.  The bīja la gives victory to the
sādaka.  Thus, the first four bījas give peace, prosperity, prevention of misfortunes,
auspiciousness and a status like Indra.  This means victory to sādaka in every step he puts
forward.  (Indra is the chief of all gods and goddesses and is victorious in all the battles against
demons).

hrīṁ is made up of twelve letters.  H + r + ī + m and a bindu.  Bindu is a dot on the letter m (ṁ).  
But this is not just a dot.  This dot comprises of ardacandra, rodhinī, nāda, nādānta, śakti,
vyāpikā, samanā and uṇmanī.  Beginning from bindu and including these eight, is nāda (total
nine).  This nāda comprises of two V-s one above the other (each V has two lines and two V-s
together have four lines) and four dots each at the open ends of V and one dot on the top these
four dots.  This is the combination of bīja hrīṁ.  More than these V-s and dots, the pronunciation
is important.  There are specifications of length of timing for pronunciations of each bīja.  The
entire kūṭa should be pronounced in eleven mātrā-s (a mātrā is the time taken for a winking,
possibly lesser than a second).  There are guidelines for pronouncing the bījas.  The
pronunciation of Vākbhava kūṭas hould commence from mūlādhāra cakra and end at anāhata
cakra, contemplating the entire kūṭa as the fire.

The second kūṭa is kāmarāja kūṭa or madhya kūṭa is to be meditated upon Lalitāmbikā’s neck to
hip.   Thiskūṭa has the highest number of bījas, six.  They are ha-sa-ka-ha-la- hrīṁ.  Out of these,
ka, la and hrīṁ have been discussed in the first kūṭa, leaving two new bījas in this kūṭa.  Out of
the new bījas, ha has been repeated twice.  The first ha means Śiva; the second ha means ākāś
element (Saundarya Laharī verse 32 refers this second ha as the sun) and sa in this place means
Viṣṇu.  With reference to the five basic elements, sa means air element.  The bīja ha is also
known as eunuch bīja.  Probably this is the reason why the bīja hrīṁ refers to the union of Śiva
and Śaktī.  In the first kūṭa, Brahma was mentioned, as the first kūṭa refers to creation.  In
thiskūṭa of sustenance, Viṣṇu is mentioned as He is the lord of sustenance.  This kūṭa should be
pronounced in a time frame of 11.50 mātrā.  This kūṭa is to be contemplated from anāhata cakra
to ājñā cakra in the form brightness that is equivalent to millions of suns.  This kūṭa is also called
sūrya khaṇḍa and forms the second act of Brahman viz. the sustenance.  Since it is associated
with sustenance, desire is attached to this kūṭa.

The third kūṭa which is called śaktī kūṭa, has only four bījas.  This kūṭa is to be meditated upon
the portion between hip and the feet of Lalitāmbikā.  The four bījas are sa-ka-la- hrīṃ.  The first
kūṭa has five bījas, second kūṭa six bījas and the third has only four bījas.  Possibly this could
mean that sustenance is the most difficult act and dissolution is the easiest act.  Vākbhava kūṭa
refers to subtle intellect, kāmarāja kūṭa refers to preponderance of valour, wealth, fame, etc and
the third kūṭa, the śakti kūṭa expands the conveyance of the previous two kūṭas. It can be noticed
that two ha bījas in the madhya kūṭa is removed in this śaktī kūṭa.  This kūṭa is to be pronounced
in a time frame of eight and a half mātrās.  The entire Pañcadaśī mantra should be pronounced in
thirty one mātrās.  In the case of continuous recitation of this mantra, without leaving time gap
between the kūṭa only twenty nine mātrā-s are prescribed.  But the time factor does not apply
when the mantra is recited mentally.  This kūṭa is to be contemplated from anāhata cakra to the
middle of the forehead in the forms of brightness comparable to the millions of moons.  There
are nine stages from anāhata to the middle of the forehead.  These nine stages are nothing but the
nine components of nāda which was discussed under hrīṃ.  This kūṭa is called chandra khaṇḍa
and forms the third act of Brahman, the dissolution.  The dissolution is represented by the bījā
‘la’ which means the destructive weaponries viz. vajra (thunder bolt),cakra (the wheel.  Possibly
meaning the Sudarśana cakra of Viṣṇu), triśūla or trident of Śiva and the gada of Viṣṇu.  There
are three hrīṃ-s in Pañcadaśī each representing creation, sustenance and dissolution.

Śaṃkarācārya also talks about the bījas of Pañcadaśī in a secretive manner in Saundarya Laharī
(verse 32).   In the second kūṭa out of the two ha bījas, Śaṃkarācārya means sun instead of ākāś
element.    The interpretations of the bījas differ from scholar to scholar.   It is also pertinent to
note that chanting of one round of Pañcadaśī mantra is equivalent to three rounds of recitation of
pūrṇa Gāyatrī mantra.  Pūrṇa Gāyatrīmeans an addition of paro rajase sāvadom as the last line in
addition to the existing three lines.
In sixth and last line the bījas of the first line are placed in a reverse order. This is known as
mantra sampuṭīkaraṇa. This means that three bījas of the second line and Pañcadaśī mantra are
encased by the first line and the last line, so that effects of Pañcadaśī mantra and the bījas of the
second line do not go out of the aspirant and is sealed within the aspirant.

At the end the salutation Namah नमः is added.

Mahāṣoḍaśī mantra thus formed is like this.

1. Om – ॐ

2. śrīṁ – hrīṁ – klīṁ – aiṁ – sauḥ:  श्रीं ह्रीं क्लीं ऐं सौः (5 bījas, ॐ omitted)

3. om – hrīṁ – śrīṁ ॐह्रींश्रीं (3 bījas)

4. ka – e – ī – la- hrīṁ कएईलह्रीं (5 bījas)

5.  ha – sa – ka – ha – la – hrīṁ हसकहलह्रीं (6 bījas)

6. sa – ka – la – hrīṁ सकलह्रीं (4 bījas)

7. sauḥ – aiṁ – klīṁ –  hrīṁ – śrīṁ सौः ऐं क्लीं ह्रीं श्रीं (5 bījas)

8. Namah नमः

Thus Mahāṣoḍaśī has twenty eight bījas, excluding the first praṇava Om and the ending Namah.

…..Om Tat Sat…..

MAHA SHODASHI MANTRA JAPA महाषोडशी मन्त्र जप

Śrī Mahāṣoḍaśī Mahāmantra Japaḥ श्रीमहाषोडशीमहामन्त्रजपः

This is the simple way of doing Śrī Mahāṣoḍaśī Mahāmantra Japa

While doing this mantra japa, one has to sit facing either East or North. If one does not have a
guru, contemplate on Lord Dkṣiṇāmūrti and mentally accept Him as Guru.

1. Ṛṣyādi nyāsaḥ ऋष्यादिन्यासः
Asyaśrī Mahāṣodaśī Mahāmantrasya –  Śrī Dakṣiṇāmūrti ṛṣiḥ – Gāyatrī chandaḥ – Śrī Lalitā
mahātripurasundari Parābhaṭṭārikā Devatā |

अस्यश्रीमहाषोदशीमहामन्त्रस्य – श्रीदक्षिणामर्ति
ू ऋषिः – गायत्रीछन्दः – श्रीललितामहात्रिपुरसन्
ु दरिपराभ
ट्टारिकादे वता।

aiṁ bījaṁ | sauḥ śaktiḥ | klīṁ kīlakam || ऐंबीजं।सौःशक्तिः।क्लींकीलकम ्॥

Śrī Lalitāmahātripurasundari Parābhaṭṭārikā darśana bhāṣaṇa siddhyarthe Śrī Mahāṣoḍaśī

Mahāmantra jape viniyogaḥ  ||

श्रीललितामहात्रिपुरसन्
ु दरिपराभट्टारिकादर्शनभाषणसिद्ध्यर्थेश्रीमहाषोडशीमहामन्त्रजपेविनियोगः॥

2. Karanyāsaḥ करन्यासः

Om – śrīṁ – hrīṁ – klīṁ – aiṁ – sauḥ: aṅguṣṭhābhyām

namaḥ ॐ श्रीं ह्रीं क्लीं ऐं सौः अङ्गुष्ठाभ्याम ् नमः(use both the index fingers and run them on both
the thumbs)

om – hrīṁ – śrīṁ tarjanībhyāṁ namaḥ ॐ ह्रीं श्रीं तर्जनीभ्यां नमः (use both the thumbs and run

them on both the index fingers)

ka – e – ī – la- hrīṁ madhyamābhyāṁ namaḥ क ए ई ल ह्रीं मध्यमाभ्यां नमः (both the thumbs on

the middle fingers)

ha – sa – ka – ha – la – hrīṁ anāmikābhyāṁ namaḥ ह स क ह ल ह्रीं अनामिकाभ्यां नमः (both the

thumbs on the ring fingers)

sa – ka – la – hrīṁ kaniṣṭhīkābhyāṁ namaḥ स क ल ह्रीं कनिष्ठीकाभ्यां नमः (both the thumbs on

the little fingers)

sauḥ – aiṁ – klīṁ –  hrīṁ – śrīṁ karatalakarapṛṣṭhābhyāṁ

namaḥ सौः ऐं क्लीं ह्रीं श्रीं करतलकरपष्ृ ठाभ्यांनमः  (open both the palms; run the opened palms of
the right hand on the front and back sides of the left palm and repeat the same for the other palm)

3. Hrdayādi nyāsaḥ ह्र्दयादिन्यासः

Om – śrīṁ – hrīṁ – klīṁ – aiṁ – sauḥ: hrdayāya namaḥ| ॐ श्रीं ह्रीं क्लीं ऐं सौः ह्र्दयाय नमः (open

index, middle and ring fingers of the right hand and place them on the heart chakra)
om – hrīṁ – śrīṁ śirase svāhā ॐ ह्रीं श्रीं शिरसे स्वाहा (open middle and ring fingers of the right
hand and touch the top of the forehead)

ka – e – ī – la- hrīṁ śikhāyai vaṣaṭ स क ल ह्रीं शिखायै वषट्  (open the right thumb and touch the
back of the head. This is the point where tuft is kept)

ha – sa – ka – ha – la – hrīṁ kavacāya huṁ ह स क ह ल ह्रीं कवचाय हुं  (cross both the hands and

run the fully opened palms from shoulders to finger tips)

sa – ka – la – hrīṁ netratrayāya vauṣaṭ स क ल ह्रीं नेत्रत्रयाय वौषट् (open the index, middle and ring

fingers of the right hand; touch both the eyes using index and ring fingers and touch the point
between the two eyebrows (ājñā cakra) with the middle finger.)

sauḥ – aiṁ – klīṁ –  hrīṁ – śrīṁ  astrāya phaṭ सौः ऐं क्लीं ह्रीं श्रीं  अस्त्राय फट् (open up the left

palm and strike it three times with index and middle fingers of the right hand)

भूर्भुवस्सुवरोमिति दिग्बन्धः॥ bhūrbhuvassuvaromiti digbandhaḥ||  (by using right hand thumb and

middle fingers make rattle clockwise around the head)

4. Dhyānam ध्यानम ्

cāpaṁ cekṣumayaṁ prasūnaviśikhān pāśāṅkuśaṁ pustakaṁ

māṇikyāṣasṛjavaraṁ maṇīmayīṁ vīṇāṁ sarojadvayaṁ |

pāṇibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ

sindūrāruṇa vigrahāṁ bhagavatīṁ tāṁ ṣoḍaśīmāśraye ||

चापंचेक्षुमयंप्रसूनविशिखान्पाशाङ्कुशंपुस्तकं

माणिक्याषसज
ृ वरं मणीमयींवीणांसरोजद्वयं।

पाणिभ्यांवरदाअभयंचदधतींब्रह्मादिसेव्यांपरां

सिन्दरू ारुणविग्रहांभगवतींतांषोडशीमाश्रये॥

Meaning: She has twelve hands, holds (1) a bow made of sugarcane, (2) arrows made of
kadamba flowers, (3) a noose, (4) a hook, (5) a book, (6) a rosary made of rubies, displays (7)
abhaya (removal of fear) and (8) varadha (giving boons) mudras. She closely holds a veena (a
musical instrument) with two hands (9 and 10)  and lotus flowers in two hands (11 and 12) one
on each side. She is worshipped by Brahmā and other gods and goddesses. She is red in
complexion. I surrender unto this Supreme Goddess.

5. Pañcapūjā पञ्चपज
ू ा (follow as per Karanyāsa)

laṁ – pṛthivyātmikāyai gandhaṁ samarpayāmi|

haṁ – ākāśātmikāyai puṣpaiḥ pūjayāmi|

yaṁ – vāyvātmikāyai dhūpamāghrāpayāmi|

raṁ – agnyātmikāyai dhīpaṁ darśayāmi |

vaṁ amṛtātmikāyai amṛtaṁ mahānaivedyaṁ nivedayāmi |

saṁ – sarvātmikāyai sarvopacāra pūjām samarpayāmi||

लं – पथि
ृ व्यात्मिकायैगन्धंसमर्पयामि।

हं  – आकाशात्मिकायैपुष्पैःपूजयामि।

यं – वाय्वात्मिकायैधूपमाघ्रापयामि।

रं  – अग्न्यात्मिकायैधीपंदर्शयामि।

वंअमत
ृ ात्मिकायैअमत
ृ ंमहानैवेद्यंनिवेदयामि।

सं – सर्वात्मिकायैसर्वोपचारपज
ू ाम्समर्पयामि॥

6. Śrī Mahāṣoḍaśī Mahā Mantraḥ श्रीमहाषोडशीमहामन्त्रः

om śrīṁ hrīṁ klīṁ aiṁ sauḥ — ॐ श्रीं ह्रीं क्लीं ऐं सौः

om hrīṁ śrīṁ — ॐह्रींश्रीं

ka e ī la hrīṁ — कएईलह्रीं

ha sa ka ha la hrīṁ — हसकहलह्रीं
sa ka la hrīṁ — सकलह्रीं

sauḥ aiṁ klīṁ hrīṁ śrīṁ — सौःऐंक्लींह्रींश्रीं

Namah नमः

Ideally recite the Maha Shodasi Mantra 108 times.

Also note that the arrangement of bījā-s in the first line (om śrīṁ hrīṁ klīṁ aiṁ sauḥ ) are
reversed in the last line (sauḥ aiṁ klīṁ hrīṁ śrīṁ). This is known as sampuṭīkaraṇa or the sealing
of the mantra.

7. Samarpaṇam समर्पनम ्

guhyāti guhya goptrī tvaṁ gṛhāṇāsmat-kṛtaṁ japam|

siddhirbhavatu me devi tvatprasādānmayi stirā||

गुह्यातिगुह्यगोप्त्रीत्वंगह
ृ ाणास्मत ्–कृतंजपम ्।

सिद्धिर्भवतम
ु ेदेवित्वत्प्रसादान्मयिस्तिरा॥

Meaning: You sustain the secret of all secrets. Please accept this japa performed by me and
bestow Your perpetual Grace on me.

8. Ideally after worshipping Devi you should also offer a prayer to Lord Shiva. The following is
a brief simple verse.

Om Satchitananda Parabrahma Paramatma Parameswara

Sri Bhagavati sameta Om Bhagavate Namaha

ॐसच्चिदानन्दपर–ब्रह्मपरमात्मपरमेश्वर

श्रीभगवतीसमेताॐभगवतेनमः

Those who are interested in Devi poojas this is a simple and fairly easy to perform Sriyantra
pooja.

For those who don’t have the time a simple Khadgamala recital is > here
For those who have the time and inclination a full and very detailed Navavarana pooja as per the
great Kaulavachara is > here

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