Laghustavacarcastavau p40

p40

vaikharīvāgrūpatayā svātmacamatkāramayī vijṛmbhate . tatra
paśyantyāmasphuṭavibhāgatvādvācyavācakayoḥ kramānullāsa eva tasyā
draṣṭrekasvabhāvatvāt . madhyamāyāṃ punastayoḥ sphuṭāsphuṭatvena
kramodayaḥ . vaikharyāṃ tu
sthānakaraṇaprayatnāśrayavyaktatattadvarṇakramopagrahaḥ sphuṭa iti sarvatraiva
mahāmantraparāmarśacamatkārakāritvena
viśvabhedāvabhāsaprapañcakavalanasvabhāvā vaikharībhūmāvapi
tryakṣaryātmakulasundarī pradhānamantrātmanā svābhinnakaraṇena
svecchāsaṃkocāvabhāsitamitapramātṛbhāvabhāvamapasāryāśeṣaviśvabhāva
khacita-pūrṇaviśvāhambhāvadhārādhirūḍhiṃ
svopāsakajanānnayatītyāśayataḥ stutikṛt svayaṃ kṛtakṛtyatayā
labdhaparadevatātmabhāvatadvibhūtimahāharṣamahollāsasarasanirbharatayā svayaṃ
kṛtārthatāmāśrayamāṇaḥ paropakāraprāvaṇyenaiva
śrīparadevatāstutimāśīrvādātmānugrahasphārapuraḥsarāṃ
mantrataddevatāsvarūpopakṣepiṇīmupakramate . tatra śrīmahātripurasundaryā
vidyādhiṣṭhātṛdevatāstadupāsanasthānaphalāni ca sāmānyataḥ
stutyapadeśenopadiśati-

and corporeal speech, expanding full of the wonder of aesthetic repose in her own Self. There, in visionary speech, because of the unmanifest division between signified and signifier, there is no emergence of succession, since its nature is solely that of the witness-perceiver. In intermediate speech, on the other hand, the emergence of succession appears by way of their being both manifest and unmanifest. But in corporeal speech, the grasping of the sequence of the respective phonemes, made manifest by relying on places of articulation, organs, and effort, is fully evident. Thus everywhere, because it produces the wonder of aesthetic repose born of cognitive reflective grasping of the great mantra, its nature is to devour the expanse of the manifestation of universal differentiation; even on the plane of corporeal speech, by making [the practitioner] non-different from herself by means of the primary mantra—the Kulasundarī mantra consisting of three syllables—she removes the condition of limited perceivership manifested by the contraction born of her own will, and elevates the worshiper to the continuous stream of the plenary I-awareness of the universe, inlaid with the state of the entire universe. With this intention, the author of the hymn, having accomplished his purpose, having attained identity with the supreme deity, fully immersed in the great joy and great unfolding of her glory, taking his stand on self-fulfillment, entirely out of devotion to helping others, begins this praise of the supreme deity, preceded by an expansion of grace in the form of a blessing, which introduces the true nature of the mantra and its deity. There, he teaches in a general way, under the guise of praise, the presiding deities of the Vidyā of Śrī Mahātripurasundarī, as well as the places of her worship and its fruits: