With unwavering focus, the adept begins by drawing inward with his own sacred mantra, silently intoning: “Om hām hrūm hām, homage to the self.” Within his heart, he visualizes the union of the divine parents and the awakening of consciousness, synchronizing this vision with the gentle rhythm of his breath as he exhales. Progressing further, he systematically relinquishes attachment to the realms governed by Brahma and other deities, guiding his awareness steadily toward the supreme abode of Śiva. For the purpose of spiritual conception, he embraces all wombs at once, gathering their potential into himself. He then casts this essence into the womb of Vāgīśvarī, using the left-hand gesture of emergence and reciting: “Om hām hām hām, homage to the self.” He worships in this way, offering satisfaction through fivefold acts of reverence. For all other wombs, he performs a purification of the body within the heart, for here, there is no separate rite to ensure a male birth—indeed, even a female form may arise from such a union. Alternatively, he may perform the symbolic parting of the hair, or attend to other divine limbs as one would for a body, always initiating birth with the head and carefully avoiding all other embodied beings. In the same manner, he contemplates the domain of each, invoking the Śiva-syllable; he enjoys the protection of the armor-mantra, and with the weapon-mantra, he contemplates the sense-objects. He meditates upon the form of delusion, its indistinguishable nature, and the state called dissolution. Through Śiva’s grace, he purifies the inner streams and discerns the fundamental principles within the heart. He then performs five sets of five ritual offerings in sequence, beginning with conception, to remove the bonds of impurity, karma, and all that arises from illusion. Having thus purified himself within the heart, he offers a hundred oblations. By restraining the force of impurity, he achieves separation from all limiting bonds. With the mantra ending in “svāhā” as his weapon, he offers five sets of five oblations. For the bond culminating in illusion, he recites the weapon-mantra seven times. Armed with a ritual knife, he enacts the cutting of bonds as prescribed: “oṃ hūṃ, to the bond of the coil of cessation, hūṃ phaṭ.” Having completed the binding act, he uses both hands and the arrow-mantra. After releasing and making circular motions, he holds the ladle brimming with ghee. He burns away obstacles with the auxiliary weapon-mantra, reducing them to ashes with the principal weapon-mantra. He makes five oblations for the removal of hook-like bonds, uttering: “oṃ haḥ, to the weapon, hūṃ phaṭ.” He then performs expiation with eight further weapon-oblations. Next, he invokes the Creator, worships, and offers libations. With three oblations, using the mantra “oṃ hāṃ, pure Brahman of sound and touch, receive, svāhā,” he grants authority, acknowledging: “For you, O Brahman, are the one who completely burns away the sins of the sacrificial animal.” He ensures that no bonds remain, proclaiming Śiva’s command. Having released the Creator, he gently guides him forth through the right channel. With the gesture of dissolution and self-restraint, he worships the libation vessel containing a drop of water, pure as nectar. Taking this drop, he joins it to the sacred thread with the exhalation known as “udbhava,” again worshipping the drop in the vessel, pure as nectar. To nourish the disciple, the teacher places the drop upon the disciple’s head. After releasing it, he gives it to the parents with the Śiva-mantra ending in “vauṣaḍ.” The rite is thereby completed, fulfillment is attained, and all cessation is purified. Then, Īśvara speaks: Now, the union of the two principles—pure and purified—should be effected using both short and long sounds, resonating from the beginning to the end of each utterance. “Om hāṃ hrūṃ hām”—these syllables encompass earth, water, fire, air, space, the subtle elements, the senses, the intellects; the three qualities, ego, and the twenty-fourth principle, the person—all these are included. He contemplates these principles as established within their support, numbering twenty-five, together with the letters from “kha” to “ya.” Fifty plus sixty-six are known by the same names as the worlds; just so many Rudras are to be understood in this context. These Rudras are: Amareśa, Prabhāva, Naimiṣa, Puṣkara; Pādi, Daṇḍi, Bhāvabhūti, and Aṣṭama as the eighth. Nakulīśa, Hariścandra, Śrīśaila as the tenth; Anvīśa, Asnātikeśa, Mahākāla, and Madhyama. Kedāra, Bhairava, and the second group of eight; then Gayā, Kurukṣetra, Khalāna, and others. Vimala, Aṭṭahāsa, Mahendra, Bhīma, Vasvāpadā, Rudrakoṭi, mighty and without the sun. Gokarṇa, Bhadrakarṇa, Svarṇākṣa, Sthāṇu, Ajeśa, the all-knowing, radiant Sūda, Nāntara. Subāhu, of intoxicated form, Viśāla, Jaṭila, Raudra, Piṅgalākṣa, and Kāladaṃṣṭrī. Vidura, Ghora, Prājāpatya, Hutāśana, Kāmarūpī, Kāla, Karṇa, and the terrifying one. Mataṅga, Piṅgala, Hara known as Dhātṛ, Śaṅkukarṇa, Vidhāna, Śrīkaṇṭha, and Candraśekhara. With these, the limits are described, as well as the following thirty-two words: Vyāpin, oṃ; Arūpa, oṃ; Pramatha, oṃ; Tejaḥ, oṃ; Jyotiḥ, oṃ; Puruṣa, oṃ; Agne, oṃ; Adhūma, oṃ; Abhasma, oṃ; Anādi, oṃ; Nānā, oṃ; Dhūdhū, oṃ; Bhūḥ, oṃ; Bhuvaḥ, oṃ; Svaḥ; Anidhana, Nidhanodbhava, Śiva, Śarva, Paramātman, Maheśvara, Mahādeva, Sadbhāveśvara, Mahātejaḥ, Yogādhipataye, Muñca, Prathama, Sarva, Sarvesarva. In the seed state, there are three mantras: Vāmadeva, Śiva, and Śikhā. Within the body, Gāndhārī and Suṣumnā are the two nāḍīs (channels), and there are likewise two winds: Samāna and Udāna. The tongue and anus are the associated senses. Taste is considered the object, while form, sound, touch, and taste are the qualities. The circle is round, marked by a lotus, and white in color. In the dream state, the cause is Garuḍadhvaja. Considering all things up to the worlds, the establishment comes to its conclusion. The practitioner then enters the thread within the body using his own mantra, separating it as needed. For establishing the thread: “oṃ hāṃ khīṃ hāṃ.” For fixing it: “oṃ phaṭ svāhā,” inhaling and using the gesture of the goad to draw it in. For further establishment: “oṃ hāṃ hrūṃ hrāṃ hrūṃ,” with “hraṃ phaḍ,” using the gesture of dissolution and retention, taking from the heart below the thread of the nāḍī. Again, “oṃ hāṃ hrūṃ hrāṃ hāṃ,” for the establishment, “namaḥ,” using the gesture of emergence and exhalation, placing it in retention. “oṃ hāṃ hrīṃ,” for the establishment, “namaḥ,” worshipping and honoring with three offerings ending in “svāhā.” Then, “oṃ hāṃ to Viṣṇu, namaḥ”—invoking, worshipping, and satisfying Viṣṇu with the declaration: “In this authority of yours, I initiate the seeker with the rite.” He informs Viṣṇu with favorable intent, and, as before, invokes, worships, and honors the goddess Vāgīśvarī and Vāgīśa. Having invoked, worshipped, and honored them, he strikes the disciple on the chest, reciting: “oṃ hāṃ hāṃ haṃ phaṭ.” By this, he enters and divides the consciousness. With the weapon joined to the noose, using the gesture of the eldest goad, he chants: “oṃ hāṃ haṃ hoṃ hrūṃ phaṭ.” Drawing to the heart with “svāhā,” he purifies the self. Taking it with the word “namah,” he places it within his own being: “oṃ hāṃ haṃ hom ātmane namaḥ.” As before, he contemplates the union with the ancestors, using the gesture of emergence. With the left hand, by the same means, he deposits it in the womb of the goddess: “oṃ hāṃ haṃ hāṃ ātmana namaḥ.” At the origin of the body, in the heart, and likewise at the head during birth, he establishes the sacred presence. Thus, through these sacred acts, the ritual is fulfilled, the bonds are dissolved, and the path to union with Śiva is made clear.