ओमिति प्रथमम् । आमिति द्वितीयम् । ह्रीमिति तृतीयम् । क्रोमिति चतुर्थम् । एहीति तदेव वदेत् । दत्तात्रेयेति स्वाहेति मन्त्रराजोऽयं द्वादशाक्षरः । जगती छन्दः । सदाशिव ऋषिः । दत्तात्रेयो देवता । ओमिति बीजम् । स्वाहेति शक्तिः । सम्बुद्धिरिति कीलकम्
omiti prathamam | āmiti dvitīyam | hrīmiti tṛtīyam | kromiti caturtham | ehīti tadeva vadet | dattātreyeti svāheti mantrarājo'yaṃ dvādaśākṣaraḥ | jagatī chandaḥ | sadāśiva ṛṣiḥ | dattātreyo devatā | omiti bījam | svāheti śaktiḥ | sambuddhiriti kīlakam
«"Om" — the first, "ām" — the second, "hrīm" — the third, "krom" — the fourth; "ehi" ("come") — let him say the same; "Dattātreya", "svāhā". This is the king of mantras, twelve-syllabled. The meter is jagatī, the sage is Sadāśiva, the deity is Dattātreya. "Om" is the seed, "svāhā" is the power, the vocative case is the pin».
1aa66f11a9c2 · 发布于 2026年8月12日 05:00:00 UTC
可用语言RUEN用方向键翻颂
Here is a passage where grammar speaks for us, and it deserves being singled out. It says: sambuddhir iti kīlakam, “the vocative case is the pin.” Sambuddhi is the grammatical name of the vocative case: the one by which one calls.
That is, in the structure of the mantra, the pin — that by which it is fastened — is named as the case of address. Let us add, too, what stands in the mantra itself: ehi, “come.” This is the second-person imperative, and moreover of a verb of motion.
That is, this mantra consists of a name in the vocative and the word “come”; and everything else in it is syllables. Let us gather what this book gives, and we get an argument stronger, to my mind, than any reasoning. In the eight-syllable mantra, the power is the bow (1.5); in the twelve-syllable one, the pin is the vocative case; and the word spoken is “come.”
A bow, a call, and a plea to come are three things that are not performed toward an impersonal first principle. One does not address the impersonal in the vocative; one does not bow to it; and one does not ask it to come, for it neither comes nor goes. We have noted such slips in a dozen books as isolated lapses; here they make up the very structure of the subject, and can no longer be called a lapse.