- ISBN: 9780791412626 | 0791412628
- Cover: Paperback
- Copyright: 9/1/1992
| Preface | |
| Acknowledgments | |
| The Stanzas on Vibration | |
| List of Abbreviations | |
| Introduction | |
| General Background | |
| The Beginnings of Kashmir Saivism | |
| The Origin of the Aphorisms of Siva | |
| Basic Features of the Stanzas on Vibration | |
| The Authorship of the Stanzas on Vibration | |
| The Commentators on the Stanzas on Vibration | |
| Kallatabhatta | |
| Rajanaka Rama | |
| Bhagavadutpala | |
| Bhaskara | |
| Ksemaraja | |
| Other Commentators and Commentaries | |
| The Doctrine of Vibration and Recognition | |
| Pratyabhijna in the Commentary by Bhagavatdutpala | |
| Recognition and the Pulse of Consciousness | |
| Self Awareness, Own Being and Egoity | |
| Spanda, Krama and Sakti : The Vibration of Consciousness and Its Power | |
| Commentaries and Exposition | |
| The Essence of Vibration, the SpandaSamdoha , by Ksemaraja | |
| 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 | |
| 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 | |
| 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 | |
| Aspects of Spanda Yoga | |
| The Means to Realization | |
| The Transition of the Moment and the Sixteen Phases of Perception | |
| The Principles of Passion, Pervasion, and the Stainless | |
| Appendices | |
| The Sources | |
| Location of References to the Stanzas on Vibration | |
| The Sanskrit Text of the SpandaKarika | |
| Notes | |
| Bibliography | |
| Index | |
| Table of Contents provided by Ingram. All Rights Reserved. |
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