In the ancient teachings, it is said that when a mantra is recited another hundred thousand times, it becomes firmly established in the practitioner’s own field of being. Earlier, the sacred fire offering using seeds was described as equally potent in establishing this power. The service to the mantra—such as offerings and related rites—should be performed as a tenth part of the main practice. In the preliminary stages, a monthly vow is to be observed with discipline. During this time, the practitioner must place the left foot upon the ground and refrain from accepting gifts, maintaining purity and focus. When these observances are doubled or tripled, they yield greater accomplishments, leading to the middling and highest attainments. Now, let me explain how to meditate upon the mantra, for it is this meditation that brings forth the true fruit born of the mantra. The first form to contemplate is the gross, external form, which is shaped by sound—the vibrational image of the mantra itself. Beyond this, there is a subtle form: luminous, dwelling within the heart, composed of pure thought. Higher still is the supreme form, which is utterly free from thought. For some, the heart-based, thought-formed image of the mantra is always held in remembrance. The gross form is called virāṭ, the cosmic manifestation, while the subtle form is known as liṅga, the mark or sign. The form that is beyond thought is called divine: it is pure consciousness, the imperishable light shining in the lotus of the heart. To meditate upon the seed of the mantra, visualize it as a kadamba flower blossoming from its own seed—glowing softly, like a lamp placed within a pot whose flame is gently restrained. In this way, the Lord of Mantras abides, united and alone, in the heart’s secret chamber. Just as a pot with many holes allows rays of light to stream outward, so too do the rays of the mantra’s seed emanate through the subtle channels of the body. These rays spread outward, shining forth, and take on a divine form. From the heart, the channels flow, connecting to the senses. Of all these channels, two—one fiery, one of soma—are found at the tip of the nose. Through the secret practice of yoga, by mastering the breath and remaining steadfast in recitation and meditation, the practitioner attains the mark of the mantra. By purifying both the gross elements and their subtle counterparts, and practicing yoga with deep desire, one can attain aṇimā and the other mystical powers. Yet, by remaining unattached, one transcends even these. When the elements themselves are infused with divinity, the practitioner becomes free from the grasp of the senses. At this point, Agni, the divine Fire, speaks: “I will now explain the rite of protection, known as Mārjana, for oneself and for others. By this practice, a person is freed from suffering and attains happiness.” Agni continues, “Let me describe the rite of Pavitrārohaṇa and the fruits of worshipping Hari for an entire year. From the beginning of the month of Āṣāḍha to the end of Kārtika, the first day marks the time for offering the Pavitra. With the presence of Śrī, Gaurī, Gaṇeśa, Sarasvatī, Guha, the Mothers of the Sun, Durgā, the Nāgas, the Ṛṣi, Hari, and Manmatha, as well as for Śiva and Brahmā from the second day onward, each devotee chooses the day dedicated to their chosen deity as their own Pavitra day. The procedure for Pavitrārohaṇa is much the same as other rites, except for certain mantras and details. The Pavitra is crafted from gold, silver, copper, thread, or cotton. Ideally, the thread is spun by a Brāhmaṇa woman, or, if not available, by someone purified. This thread is made threefold to create the Pavitra. The garland should be strung with over one hundred and eight threads, or half that for the best kind, as prescribed for proper performance. With devotion, the practitioner prays, ‘O Lord, wherever this Pavitra is, let there be no obstacle. Grant us victory and imperishability.’ At the beginning of the ritual circle, the Pavitra is tied while reciting the Gāyatrī: ‘Om, we contemplate Nārāyaṇa, we meditate on Vāsudeva. May Viṣṇu inspire us, in accordance with the Lord of gods.’ The Pavitra is then placed on the images, extending from the knees to the navel and nose. The garland may reach to the feet, or be a forest garland with over one thousand and eight threads, or a garland fashioned according to the rules, twice as long and sixteen fingers in length. Its center, filament, leaves, mantra, and end are all carefully arranged. The Pavitra resembles a single-wheeled lotus, with a circle the measure of a finger. On the altar, it should measure twenty-seven fingers; special threads are reserved for teachers, ancestors, and mothers. Within the Pavitra, twelve knots are tied, and similarly for the fragrant Pavitra. At the beginning, allow two fingers’ length, and prepare a double garland of one hundred and eight. Alternatively, garlands of twenty-four or thirty-six are made for the Sun. Using the ring finger, middle finger, and thumb, those who desire the garland begin slowly. The little finger and the next, or twelve knots, should be included for the Sun, the ritual pot, and the fire, as prescribed by the Vaiṣṇavas. The seat’s measure is set at the end of the girdle, at the coil; as much as possible, thread and knots are arranged for the Vaiṣṇava attendant. Or, seventeen threads may be divided into three by a single thread, and the Pavitra is adorned with rocanā, aguru, camphor, turmeric, saffron, and similar substances. The practitioner then adorns the Lord with sandal paste and other offerings, performs ritual bathing, twilight worship, and related rites. On the eleventh day, Hari is worshipped in the sacrificial hall. Offerings are given on the altar for all attendants, cloth is offered to the guardian at the threshold, and wealth is given at the door. Worship is also performed for Dhātṛ, Dakṣa, Vidhātṛ, Gaṅgā, Yamunā, the conch, lotus, and treasures, and in the center, negative influences are expelled from the site. The practitioner recites: ‘Om hrūm haḥ phaṭ hram, I withdraw the subtle element of scent, obeisance; Om hrūm haḥ phaṭ hrūm, I withdraw the subtle element of taste, obeisance; Om hrūm haḥ phaṭ hruṃ, I withdraw the subtle element of form, obeisance; Om hrūm haḥ phaṭ hrūm, I withdraw the subtle element of touch, obeisance; Om hrūm haḥ phaṭ hrūm, I withdraw the subtle element of sound, obeisance.’ Through these five withdrawals, the earth-mandala is visualized: square, yellow, hard, marked with a thunderbolt, representing the element of scent. Indra is meditated upon as the presiding deity, situated at the center between the feet. After anointing with the pure taste-element, it too is withdrawn. The practitioner continues: ‘Om hrīṃ haḥ phaṭ hrūm, I withdraw the subtle element of taste, obeisance; Om hrūm haḥ phaṭ, I withdraw the subtle element of form, obeisance; Om hrīṃ haḥ phaṭ hrūm, I withdraw the subtle element of touch, obeisance; Om hrīṃ haḥ phaṭ hrūm, I withdraw the subtle element of sound, obeisance.’ In the region between the knees and navel, a white, half-moon shaped mandala marked with a lotus is visualized, and Varuṇa is meditated upon as the deity. With four withdrawals, the pure taste-element is withdrawn, and likewise, the form-element is withdrawn with its associated forms. The practitioner then recites: ‘Om hrūm haḥ phaṭ hrūm, I withdraw the subtle element of earth, obeisance; hrūm haḥ phaṭ hrūm, I withdraw the subtle element of touch, obeisance; Om hrūm haḥ phaṭ hrūm, I withdraw the subtle element of sound, obeisance.’ With these three withdrawals, the fire-mandala is visualized: triangular, situated between the navel and throat, red, and marked with a swastika. Thus, through these sacred practices of mantra, meditation, and ritual, the practitioner gradually purifies the self, attains protection, and draws near to the divine, step by step, in the loving embrace of the eternal Dharma.