dAnavendra realized that if he could get hold of the amR^ita of the deva-s he would be victorious. For this he went over to the circle of mAtR^ikA-s headed by chakrakarAlinI and invoked them to fight on his side. He also got the anantavIra-s who had emanated from the 8 bhairavas starting from asitA~Nga to kapAla to fight on his side. As a result the mAtR^ikA’s and vIra-s attacked the deva-s and the great bhairava, and while they were fighting dAnavendra stole their soma. He started to dance victoriously and the devas and bhairava seeing their shakti-s and vIra-s turn against them were stupefied. Then chakrakarAlinI and the mAtR^ikA-s rushed to eat up the deva-s and bhairava. As they were opening their mouths and sticking out their tongues, rudra tried to save the situation. He created a mada-sAgara. He then emanated a 4-petalled lotus into that madasAgara. On the 4 petals sat the 4 devI-s jayA, vijayA, ajitA and aparAjitA, and in the middle sat the terrifying 4 faced emanation of mahAdeva- tumburu. They played melodiously on their vINas and captivated the mAtR^ikA-s and held them spell bound. When they were thus de-activated, the deva-s and tumburu attacked dAnavendra and killed him.
tumburu and his 4 sister goddess revealed the mahAsammohana saMhitA to maheshAna, from him to sammohana (after whom the tantra is now known), from him to ananta, from him to trimUrti, from him to dundubhi, from him to nIlakaNTha. This is the amaraugha.
The lord of the vINa-shikhA became wild with passion on seeing the intoxicating beauty of dAkShAyaNI-kAlI. A bIjAkShara emanate from him then which manifested as the unmatta-bhairava of ghora rUpa. The goddess after embracing the great bhairava asked him the vidyA of the mahAghora rUpa of unmatta-bhairava. It was then that unmattabhairava propounded the jAyAtantra and the unmatta-bhairava sUtras. This was known to many students, but nIlarudra imparted it with all bhairava tantras to the bhArgavas. The bhR^igu-s also received the saMmohana from him and the unmattabhairava or bhUta-DAmara tantra as an upa-tantra of that. This is the mAnavaugha.
In the surviving condition there are three tantras that appear to have had a common origin- they are unmattabhairavaM, bhUtaDAmaraM (AstIka) and bhUtaDAmaraM (nAstIka). Both the AstIka and nAstIka versions in this case are close suggesting that not many changes beyond the obvious were made in either stream. It appears that this might have been a product of the symbiotic relationship between the AstIka-s and nAstIka-s. The uDDIshaM also appears to be a more divergent relative of the same, which is more firmly in the purely AstIka camp. From uDDIsha, in the Himalayan country was derived the well-known uDDAmareshvaraM. We also suspect the uDDIshaM and unmatta bhairavaM were the original AstIka versions that was taken up by nAstIka-s, and then the AstIkas re-obtained this from them with minor modifications as their version of bhUta-DAmara.
AstIka bhUta-dAMaraM and unmattabhairavaM open with the lines:
vyoma-vaktraM mahAkAyaM pralalAgni-samaprabhaM |
abhedya-bhedyakaM staumi bhUtaDAmara-nAmakaM ||
Technically the face of rudra specifically being referred to here is ishAna (vyoma being the Urdhva mukha), which in the usual system refers to face from which the siddhAnta tantras arose. But in the context of this tantra unmatta-bhairava is taken to be the emanation of ishAna-shiva:
trailokyAdhipati raudraM sura-siddha-namaskR^itaM |
unmatta-bhairavaM natvA pR^ichchaty-unmatta-bhairavI ||
The first four mantras appear to belong to the vajra-series that were deployed in the vajra-maNDala tantras used in certain shiva temples:
OM vajra-jvAlena hana hana sarva-bhUtAn hUM phaT ||
OM vajra-mukhe sara-sara phaT ||
[this is known as the viGYAnAkarShaNI mantra]
OM saMghaTTa-saMghaTTa mR^itAn jIvaya svAhA ||
OM hana hana sarvaM mAraya mAraya vajra-jvAlena hUM phaT ||
The mantra of sarvApsarasa prayoga of these tantras is thus given:
OM shrIM tilottamA | shrIM hrIM kA~nchana-mAlA | OM shrIM huM kula-hAriNI |
OM huM ratnamAlA | OM huM raMbhA | OM shrIM urvashI | OM ramA bhUShiNI ||