Saundarya Lahari Notes

SLC9 is a manuscript in C. de Bruler's hand, dated: "begun December 1970".



P1- Ch.2 of "The Integrated Science of the Absolute" - Bergson

P16- Reading List

P16- Thesis Subjects

P18- Ch.2 of "The Integrated Science of the Absolute" - Bergson

P24- St. Theresa's 4 Stages of Prayer

P26- Jalal-ud-Din Rumi

P26- Jami

P28- Maitri Upanishad

P45- Saundarya Lahari - Chakras and Adharas

P50- Chakras from Saubhagya Lakshmi Upanishad

P52- Yoga Raja Upanishad

P54- Saubhagya Lakshmi Upanishad

P55- Sankara's Chakras

P59- Saundarya Lahari Chakras

P63- Raghuvamsa

P64- Maitri Upanishad

P77- Brihadaranyaka Upanishad




(Chapter II of Integrated Science on Methodology, with "Durée et Simultanéité "by Henri Bergson.


This chapter is an unwinding, after the previous chapter, which is a vision by "supposition" (let us suppose the world is real).
First there was construction, then in this chapter, reduction.
The history of Western Philosophy is the history of two trends: those of Plato and Aristotle
("prius nobis", the unmoved mover, is a negative synthetic approach)
Kant contributed the "synthetic a priori".

There are thus two approaches in the West.
The first chapter was given over to the empiricists:
Here everything becomes clear by negation:
"neti, neti" (not this, not this), is the method employed by the Guru; it is the negative way.

Apa-vada: the Sanskrit name for this Darsana, means that everything is specified by negation.
Delimit and eliminate what is extraneous.


The first chapter consists of specifying the various kinds of God: as a magician, as seed, etc., in order to cancel them out later.
You cannot just throw away these visions of God as the Creator.
So it is necessary to "enter" the ordinary position of the positivist, technocratic system and of empiricism, in order to cancel it later.

Chapter II, Apavada, will thus negate the previous chapter and reduce multiplicity into unity.

Einstein says there is no true time; all time is relative.
Bergson says that there is a "true time".
But Bergson will not say "Absolute Time", but speaks of a "pure time", as given to common sense and of simultaneity.
This pure time is duration, which is unique, absolute and verticalized.
Clock time is spatialized, quantitative and experiential.
So Bergson revises the notions of time and says that Einstein was only a demi-relativist.
Bergson: "neither physicists or philosophers will object to my approach to pure time or duration"
- he could have said "beauty", "truth", etc.
Keats: "A thing of beauty is a joy forever..." this is also an Absolute.

The philosophy of science is in the air - but it must have an epistemology,
a methodology and an axiology - thus this Chapter II.
".... piecemeal methods of trial and error" cf. Russell P.281. The problems of philosophy are wholesale. Russell is not a philosopher.

P.282. The definition of methodology from Rune's "Dictionary of Philosophy".

P.283. Methodology and Schematism: see Descartes, Spinoza, and Bergson.

P.284. Normative notions of the Absolute in Western Philosophy:
see Spinoza, Leibnitz, Descartes, Hume, Locke, etc.


P.285. The curvature of Descartes' " Vortices".
"Cogito, ergo sum" (I think, therefore I am) - what kind of proof is that?
There is no other way of starting a philosophical system.
Abstraction and generalisation mean metaphysics - unity from plurality
- there is one Truth behind all this multiplicity: to find it is the task of philosophy.

"Cogito, ergo sum" is the plank from which to dive into the water of metaphysics, the first generalisation, the axiomatic starting dictum.
There is a principle of the "impossibility of being otherwise" in Indian Philosophy, the Pramana called Anupalabdhi.

If a mother says to a child that it has many fathers - the child will answer: "no, no"
You eliminate them all until only one is left.
The starting postulate is that you have only one father because it is impossible for it to be otherwise.
Similarly "cogito..." is a valid axiom - and the starting point of a correct methodology.

"This is the best starting point for all philosophy"
"Descartes is a Guru, and he is telling you the truth, you should touch his feet".

"Thinking is the function and a function must have an agent behind it.
Thinking is the business of all philosophy; we are all thinking,

Descartes also put forward an ontological proof of the existence of God,
without the Bible.



Eddington´s three revisions of modern science: subjective, structural and selective
Similarly, the Guru, wants...
Thus: epistemology, axiology and methodology - these three cannot be separated.

Axiology means: "what is the purpose of your studies?".
Epistemology: locate yourself on the total globe - orientation and perspective.
Methodology: proceed by systematic doubt - see if your degree of certitude is adequate.

Systematic doubting is scepticism.

After physics, we close our eyes and contemplate.
This is the beginning of metaphysics.

The first thing we are sure of is that we are there, and thinking:
thus "cogito ergo sum" is the natural starting point of speculation at the central O point.

This is just like the " I, I " of Narayana Guru's poem.

Modern science is now catching up with the hylozoists -there is life in matter.

Where does one begin in Western Philosophy, before Descartes?
With Socrates? Pythagoras? The Hylozoists?
Philo Judaeus and Plotinus are important Neo-Platonists -
The Alexandrian school with Hypateia etc. Plotinus influences the church.
So the Pre-Socratic, Alexandrian, Christian and Scholastic viewpoints should be roughly understood.

Then came Descartes who put method into Western Philosophy.
The Guru calls this "orthogonality".
Orthogonality - that is the angle that is "right", more right than any other angle. The principle of orthogonality is to be respected: this is methodology.

P.289 The first rule of methodology is to respect orthogonality.
Do not turn to the right or the left, but stay on the straight path
- i.e. the vertical.

Don't leave your crummy guru in Kathmandu.
Stay with him and digest him.

Keep to the schematic vertical, the geometric direction that is in your mind.
This is a slight correction of Descartes.
It is a schematic direction: keep your bearings.
(History of Philosophy - see Uberweg or Cousins or B.A.G.Fuller)
That direction is the vertical.
Then, he says, in action, we must choose one or another course of action on the horizontal, on the basis of experimentation.
Thus Descartes lays down a vertical; " keep to the right course "
- a priori - and a horizontal, a posteriori world of action.


P.291. The necessity of insertion of a horizontal axis of reference.
Even when coconut leaves drop, there is still a mark or reference there: that is, a thin horizontal axis of reference.
Desires can be dropped, but a mark will remain as a reference.


Narayana Guru's Atmopadesa Satakam, verse 50 - You cannot eliminate the horizontal axis.
No good, but not evil. Abolish both of them.
Similarly put a circle around eroticism and then transcend it.
You cannot abolish anything.
The horizontal does not exist, but should be inserted as a mathematical axis of reference - the leaves make a mark on the tree when they fall from a coconut palm.

A mother with a living child and a mother with a dead child pass
each other in church and participate. (Is this from "Les Misérables"? ED)

See Atmopadesa Satakam, the four middle verses, for a full clarification of the horizontal reference.



Magenta is between day and night at twilight.
The Chakora birds are hopping from one side to the other, no more sex.
The twilight line is the vertical, the bird's hopping is the vertical.
(Reference to Kalidasa's: Ritusamhara. ED)
The eroticism of Greenland and the Equator are not the same;
Greenland does not know Othello's passion.
The vertical and horizontal are everywhere in your love affairs.
Kalidasa cancels out in each season in his Ritusamhara.
The lotus breeze for one minute can cancel out all the fatigue of a night of lovemaking: this is the vertical axis.

Set up a meditation box, a lesson box of subjects to cover in one week.
Meditate on the sunset, make it subjective, then verify it objectively;
then subjectively again, then objectively: this will rouse the Kundalini.
(This takes us to relative and absolute time, as in Bergson.)


Schroedinger's Equation, taking into account angular velocities,
postulates the same reciprocity as Bergson.
The poetic image of Kandukavati says the same thing: reciprocal retardation as the converse of acceleration, as when a ball accelerates downhill and slows down on the trip back up.
(Marriage always has some structural laws.

P.296 Relative and Absolute Time.
In the physical world, the reflected ball always obeys the same laws as the actual ball, so physics treats it as real: this is the virtual.

A side-glance from the Devi is horizontal meeting horizontal;
You get the frontal glance from philosophy, but not the side-glance, which cancels out the final horizontal tendencies.
Narayana Guru: "In spite of my wisdom, I am suffering in this world because I do not have your side-glance."

PP.301, 302: "Time" and "Time' ", Cause and effect.
The observer and the observed belong to a common frame of reference:
this is the essence of relativity.

Bergson: " Go to the clock-shop - all the clocks have the same time
- that is called spatialized time - comparing one clock with another;
but the personal use of the clock is vertical, corresponding to your hunger,
the light coming, etc.
The horizontal midday siren at Ooty tallies with the vertical time within you.
This is Time Spatialized and Time Temporalised.
Similarly, there are vertical and horizontal causes:
homesickness makes you cry - this is vertical:
someone slaps you - this is horizontal.
Reduce cause to the cause of all causes - the Absolute: this is methodology.

Narayana Guru takes Cause, verticalizes it negatively and cancels it out with all the effects.
Bergson does the same with Time.
Narayana Guru touches cause as the very centre of the Absolute.
The methodology of Bergson and Narayana Guru is the same.

Bergson's Five Objections to Einstein's relativity:
1. He does not define the terms he uses.
2. He does not see reciprocity in Relativity.
3. He does not see the relation between radical and attenuated relativity.
4. He confuses the two above.
5. He does not press closely the passage from physics to metaphysics.

The secret is that you can treat anything as "sub specie aeternitatis" (under the aegis of the absolute).

Bergson: there was abstract relativity and imaged relativity, with a paradox between them.

P.303 The two proofs of Pythagoras' theorem.
Most important: why should there be two proofs?
This is a most fundamental proof.
The material cause is negative vertical: the clay.
The instrumental cause is horizontal: the potter.

Philosophically all causes and effects are the same,
but you cannot make a pot from curds, nor curds from clay.
The ideas of things enter into another; but actual things are mutually exclusive.
This distinction is not explained in the West.

P.305 The Michelson - Morley experiment, Fitzgerald contractions and Lorentz transformations.
The velocity of light as a constant - this depends on the failure and not on the success of the Michelson-Morley experiment.
So, the velocity of light is absolute.

Bergson's first objection is that the terms are not defined with rigour.
Not demi-relativity but complete relativity.
He objects that physicists did not draw all the conclusions they should have from the Lorentz equations

The main statement of Bergson is that there is a paradox in Relativity: two things are said and no conclusion is reached.
Bergson says that the physicists ignore the paradox:
1. Admit cogito ergo sum: the Absolute Self.
2. Descartes' Occasionalism is the will of God operating through duration.

By using the same Fitzgerald contraction and Lorentz transformation,
Bergson says that he will dissolve the paradox at the core of relativity.
Mathematics can represent facts: The contractor is paid and satisfied; the bursar at Cambridge knows what was spent without having to go and see.

One time is vertical and one is horizontal.
In relativity, one is refined or imaged; the other is mechanistic and horizontal.
Thus there is a paradox - two times are presented to us:
Abolish them into Absolute Time.
Bergson is also against turning physics into philosophy:
"Don't let Einstein get away with half-baked theories."

Have three things clearly in mind:
1. The Michelson-Morley experiment.
2. Fitzgerald contractions
3. Lorentz transformations.

The restricted theory of relativity - as you approach the speed of light, space contracts and becomes time - it is verticalized.
E = MC2
C2 because of Pythagorean distances (not clear, as is much in this section. ED): do not get confused.
(now re-read from P305 to re-check the text)

P306. After the Michelson-Morley experiment, physics got a frame of reference based on the Cartesian Correlates: no more Euclidean straight lines into infinity; Newtonian ideas are altered.
Now right angles are brought into the picture as forming a frame of reference.


Now the observer and the observed belong to the same frame of reference.
The speed of light is absolute and there is no ether wind.

P308 - First sentence - the Guru acknowledges that it is not clear - refers to the Red Shift and an expanding universe.
A receding galaxy will show a red shift, cf. the Doppler effect.
All this is a monde affiné "(refined universe" cf. Bergson): it is impossible to visualise, it is powder at the Devi's feet, Shiva's ashes, all powder.
Without a monde affiné, you cannot construct the Absolute.
It yields exponential mathematics, trigonometry, logarithmic spirals and relations, inverse squares, etc.

Here we are dealing with a monde affiné and contracting and expanding universes - not with Euclid and Newton, with straight lines and Empire State Building stuff.
Do not mix up these two worlds of physics.
The curved lines of space do not help to build a building.
Each is a closed epistemological system.
This is Apavada Darsana (apa-vada means that everything is specified by negation). - Here we eliminate what is likely to be wrong by a process of reduction: Eliminate the extraneous - the colour of the measuring stick is irrelevant.
The horizontal is not the essential.
The material cause is always more important than the instrumental cause.
Finally reach the Alpha Point and the Cause of all causes, or the Source of all sources.

Here, Bergson does it with time: arriving at an Alpha Point of Absolute Time.
So, Time, Space and Causality: there is a chain of causes and effects.
A negative process takes you all the way to the Unmoved Mover
Or the Cause of all causes: entelecheia.
P308 continued.
There is a point or chakra at which Newton's world melts or dissolves into the monde affiné and red and violet shifts.


P309. If the length of the train contracts, what happens to the breadth of the train, at right angles to the direction of the light?
These two footnotes on P.310 will give an intuitive understanding of the time-space paradox.
Press physics and metaphysics together to abolish paradox: put Shiva and Parvati together with the thinnest of horizontal lines between them: do not abolish sex, but make it a thin, thin horizontal line.

Then the Paradox melts.


Einstein's methodology is defective: he tried to go from the particular to the general.
They need a unified methodology and epistemology.

You talk about space contracting, but what about breadth?
You forget to talk about Time.
This is one-sided and is neither experienced nor derived from the Lorentz equations.
Einstein took out time to save it for another theory; that is not fair; that is demi-relativity.

Spinoza's "omnis determinatio negatio" (all determination is a negation) is the same process of negation as this methodology.
When everything has been negated, you have determination of the Absolute.
This is the Via Negationis (negative way) which leads to negative education and systematic doubting.


Water is innocent of the waves, which we see on its surface.

P310. Footnote #17: what happens to the breadth of the train?

"When you say "relativity", you do not really mean it and you do not respect the whole of the Lorentz equations. Otherwise you must tell us that you saw a train contract".
This is demi-relativity.

P312. Bergson's second objection:
"not habituated to see the reciprocity of relativity."
Movement in relativity is reciprocal - the two points coalesce.


So there are two relativities: the trains have a pillar (the Absolute) as a reference.
The pillar is on the Numerator and the trains are on the Denominator.
Otherwise you can have just trains with no fixed pillars: this is demi-relativity.
Relativity without reciprocity is only demi-relativity.
Why don't they say so?
This is not observable or derivable from the equations:
there is an error in ignoring reciprocity.

Normalisation corrects the error of your fingertips by introducing an axiom.
The reverse process could be called re-normalisation.
Einstein did not state his case in a correct and complete form.
The "new way " is not completely or consistently developed.

P314, The gap decreases between the two points:
do not treat one extremity as privileged.

P314. Descartes brings internally felt and externally measured reciprocity into the same picture.
This is a most important distinction.

Bergson's third objection.

P320. River, current, boats, birds etc.

Consciousness is like a river- it is fourth dimensional.

A man is sitting under a tree is 4th dimensional
The tree is 1st dimensional.
The creeper growing around the tree is 2nd dimensional.
The state of consciousness of the creeper is 3rd. dimensional.

The river within you is consciousness. See the same schema for consciousness in Mandukya Upanishad.

Three causes and effects:
1. a billiard ball striking another is horizontal.
2. the unwinding of a clockwork gramophone is vertical
3. an explosion is horizontal
The fourth, which includes all these, is consciousness.


Bergson's third objection: the relation between attenuated and radical relativity is not kept consciously before the mind.

Back to P318. - Sitting on the river.

P319. Three events happen with the eyes open:
the fourth is the murmur of the flux of duration: the river flowing.
There are three fluxes outside, and one inside.
The mind can dwell with them separately or with all of them as one.



P321. Bergson's fourth objection.
Einstein has not prepared against the confusion between radical and attenuated relativity.
Two times have to be integrated: duration and simultaneity, as have physics and metaphysics.

P326. The plurality of times.

Bergson's fourth objection.
Quasi-relativity is a bane to man, upsetting the notion of Absolute Time as duration.
This is a nuisance - please correct it.
S and S' have to be treated reciprocally:
they have to be given simultaneity, which is horizontal, and duration.
One of them is a reference at rest; and the other the referent, which is moving.
Apply the mathematics properly and you get duration.
Einstein paved the way for Absolute Time, but stopped short at demi-relativity due to Princeton University and faulty methodology.
Bergson wants Absolute Time so as to show that the methodology of Descartes is valid: he wants the structure with two conjugates.
The Lorentz equations improperly applied give two hundred years for Peter and two years for Paul.
Mathematically, Peter and Paul are interchangeable but you must apply your mathematics properly.
Bergson takes us to the door of the Normative Absolute
- he stops there in order to keep his job.


P330 Succession and simultaneity in time.
If there were no simultaneity, there would be no clocks and no one would want to buy one.
One clock does not tally with another; it tallies with an event.
The event is vertical, the clock is horizontal.
The clocks' agreeing is horizontal.
A vertical event tallies with a horizontal clock.
So there is a conventional simultaneity and a visual simultaneity.


P331. Bergson postulates a supreme consciousness,
capable of including all others - he stops short of the Absolute so as to keep his job.

Duration is vertical, simultaneity is horizontal - put them together and put them into a total scheme:
that is all Bergson wants to say.

There is an absolute simultaneity of events.
There are two kinds of simultaneity - absolute and relative.

Bergson's fifth objection: Einstein has not pressed closely together the passage between physics and mathematics.

Saundarya Lahari - light, sound, club and lotus - that is: discus, conch, club and lotus - a quaternion - represent a form of Vishnu.

The figures of light are like a burning brand waved in a figure eight:
do not get confused - there is only a single point of fire.

When Einstein's plurality of times is given serious
consideration...but all occurred in one duration.

Einstein on lines of light.


See in "Search for a Norm..." for a Western bibliography
Aldous Huxley: The Perennial Philosophy.
Romain Rolland: Life of Ramakrishna.
Eddington: The Nature of the Physical world.
Bergson: Creative Evolution.
Plotinus: Enneads
James Jeans: The Expanding Universe
Edna Kramer: The Mainstream of Mathematics.
Danzig: The Theory of Numbers.
Nataraja Guru: Vedanta Revalued and Restated, The Search for a
Norm in Western Thought, The Word of the Guru
The Bhagavad Gita
The Upanishads
The First Four Brahma Sutras with Sankara Bhasya (commentary).
Victor Cousins: The History of Philosophy.
Sankara: Vivekachudamani
Narayana Guru: Atmopadesa Satakam
William James: The varieties of Religious Experience - an anthology of mysticism.
Dante: The Divine Comedy
Milton: Paradise Lost
Philo Judaeus:
Dionysius the Areopagite
Amonius Saccus:

" The Absolute Implied in the Six Systems of Indian Philosophy"
(the norm contained within them).
" The Distinction between Veda and Vedanta"
"Relativity and Absolutism" (Durée et Simultanéité)
Write a shorter paper (75 pages) on economics - demolish Adam Smith.


There should be a card system - fifty cards for one year -
properly subdivided: divide the course into three years
- one year for each volume of the Science of the Absolute.

A note on sleep: 9:30 to 2 is denominator, restful sleep.
Then jump the hiatus and go to the Omega Point - meditation and
problem solving - do not sleep after this point.

The Word of the Guru (an introduction to the subject)
Vedanta Revalued (the three Gurus with their varying positions)
The Philosophy of A Guru (a compact résumé of the Vedanta of Narayana Guru)
The Search for a Norm (the Absolute in Western Philosophy)
Atmopadesa Satakam (a basic compact study of Vedanta)
The Language of Unified Science (structuralism)
The Bhagavad Gita
Back issues of "Values"
The Science of the Absolute
Viveka Chudamani (cf. Narayana Guru's Brahmavidya pancakam)
Huxley's Perennial Philosophy
History of Philosophy: Fuller, Cousins, Russell
Mystics, Christian and other: see James' Varieties of Religious
Theologians: Abelard, Aquinas, Duns Scotus, St. Augustine, St John of
the Cross, Teresa of Avila


The Two Hands of God by Alan Watts
Psychiatry, East and West, by Allen Watts
The Two Sources of Religion and Morality, by Bergson
Creative Evolution by Bergson
Quantum Mechanics, Electro-Magnetics, Thermo-Dynamism
Unitive Understanding Papers
Introduction to Metaphysics by Bergson
Uberweg's "Philosophy" (?) is the best introduction.
Tractatus Logico-Philosophicus by Witttgenstein.
Cf. cybernetics and the "black box"
cf. Alpha Waves pertaining to thought.


P340. Between the two clocks there is a lived time of duration.
Inevitably you come to the same structure.
This shows that Peter and Paul (physics and metaphysics) can be put together into one scheme. It can be done with the five steps of methodology.

P340. Here there is a vertical line of light between the two
clocks - the clocks being static and equal. Duration (? ED).

P341. Real time and conventional time

P353. Accidents do not happen to us; we happen to accidents.
The Self is the reference.

"Abolish all attributes - the substance is all that is left, i.e. the Self"

P354. Planes of events are stacked up; consciousness runs through
them as a vertical parameter - the "Elan Vital" of Bergson.



There are certain things that are in store for you.
Arrange things structurally - certain things have to happen.
There are no accidents in Kalidasa; everything happens as it has to.
Trees have to flower with one flower and not another.
Events unravel on the vertical axis.
Things are true to nature in the vertical axis.
The future comes near to us: we are the reference.
A torch in the hands of a man in the fog: the light shines like a vertical axis.

P354. " More and less" - more, because it is mathematically extended
- less, because it is not ontologically real.
"Superman" - the future is more real than the past - be real and intelligent.
New things are better.
Don't look back! Don't let your nervous system go backwards.
See "Zarathustra": no regrets or regressions.
A retired official bragging of past deeds can die of a stroke.
"It is action..." - it gives one something to do.
This approach of Bergson's is called Sat Karanavada, (giving primacy to cause over effect) working from the ontological to the theological

P355. He sums up Time structurally.
He stores on the past, adds dimension to the future.

P355 - 356. The space-time amalgam: fanciful and real observers are interchangeable as time proceeds to run through them.

The transition from Physics to Metaphysics has to be homogeneous: Samanadhikaranatva.

An epistemological revision of Einstein and Mincke
Time and space are not homogeneous until they are schematised.


P356. "Through time and space..."
Time and space eating each other: this is virtual and merely thought.
So, there is an "organism" of time and space: a "being".
When the fourth dimension is added, the resultant space-time amalgam becomes an organism of articulated time and space.
This is not the space-time we know and not the apparent amalgam of Einstein and Minkowski, but a third space-time, an articulated organism.
Einstein and Minkowski did not beat the egg sufficiently.

A#1 - this is the figure eight, the "vermicular form"
- a figure eight which ascends a vertical axis.

P357. Consciousness goes up and down a vertical axis.
The space of both S and S' will become a line and the observer will become merely a vermicular form.
The consciousness of a real physicist moves in a figure eight in the vertical axis.

structure - slc9 -p20


To the observer in S', consciousness is alternating in a figure eight.

S at the negative pole and S' at the positive.

Real Space = (any or all) space-time amalgams that can be thought of.
The essence of relativity theory is placing "in the same rank the actual and virtual visions".
You must include the virtual and the actual together, if you are abstracting and generalising.


P357. "Nothingness dilated..."
To make an event in time, you have to be outside the event:
"nothingness dilated" must be horizontal time.

P358. The interpenetration of Space and Time.
This interpenetration exists only virtually, in the consciousness of an imagined physicist.

P360. The conclusion on Times
There is succession in only one of the plurality of times.
One thing remains distinct from measurement - " Here-Time".

P362. Einstein as a successor of Descartes.


The Guru's gist: put physics and metaphysics together into a common schema.
The mind going indefinitely backwards is a schema.
Go backwards: "We know what we know what we know..."
This is a negative process: go backwards.
Schematise and you get the Absolute.
If you can think "1 multiplied by "alpha" = 0" then you can think anything.
Bergson stops short, because the Absolute is out of favour in the West.
Bergson goes on in appendices to show the reciprocity of acceleration and the emergence of a "world-line".

Just as Bergson introduces a consciousness as an abstraction between S and S' - so Vedanta introduces the Self into metaphysical arguments: this changes the whole picture.


The second law of thermodynamics.
Cartesian Correlates.
Space, Time and Causation
- the categories of Kant are a continuation of Descartes.

So S' is symbolic or algebraical and S is graphic
- put them together into one.

P362. Axiomatic Physics.

System S and system S'
superimpose one on the other, and turn one 90°:
as one is mobile and the other immobile, the 90° turn gives the dynamism of a figure eight.


The irreducible structural minimum postulated by Bergson in "Durée et Simultanéité" is a trihedral trirectangle.


Trihedral Trirectangle:
The figure eight appears in mentally travelling from S to S', immobilising each in turn.
So there is a system of reference with an observatory on top.
Finally, we can view it as a point.
Thus, Bergson advocates a schematic view.


The trihedral rectangle must look something like the above, forgetting the base.
Anyway, if you conceptualise it, you get two cones - one system for Peter and one system for Paul, with a figure eight between them.


Bergson's statement that the universe is a machine for the making of gods is just the converse of the usual proposition and is just as valid for Vedanta.

Anyway, the trihedral observatory has to have its reciprocal counterpart at S',
making two cones base to base.
But here we are only correcting the special theory of relativity: the structure is revealed only to the extent necessary to show S and S' to be completely interchangeable systems.

The conclusion of "Durée et Simultanéité" is simply that Peter and Paul has the same frame of reference: a structural frame of reference.
This is Schematisation.
The Schema is not real, but is decreed (as opposed to being "conventional") to be there, just like the Equator.
A qualitative, four-dimensional entity - a colour solid - has validity as a fixed reference.

A four-dimensional colour solid is within you,
Perceptually understood and conceptually qualified, but on a more realistic level, where we find the eyes follow the ears - there is a delicate circulation of light between the eyes and the ears (see the Saundarya Lahari on the Devi's eyes and ears)

Appendix II. 176
The physicist here concerned in Relativity Theory is concerned with lines of light as in the Michelson-Morley experiment.
Perception can embrace S, S', S'' etc. at once; but the scientist can embrace only one at a time.
This takes you to the heart of Brahmavidya, from a heterodox side.



"We may say that beginners in prayer are those who draw up the water out of the well; which is a great labour, as I have said.
For they find it very tiring to keep the senses recollected when they are used to a life of distraction.
"...let us now turn to the second method of drawing it, which the Owner of the plot has ordained. By means of a device with a windlass, the gardener draws more water with less labour and so is able to take some rest instead of being continuously at work.
I apply this description to the prayer of quiet...
"Let us now speak of the third water that feeds this garden, which is flowing water from a stream or spring.
This irrigates it with far less trouble, though some effort is required to direct it to the right channel. But now the Lord is pleased to help the gardener in such a way as to be, as it were, the gardener Himself...


The soul does not know what to do; it cannot tell whether to speak or to be silent, whether to laugh or weep. It is a glorious bewilderment, a heavenly madness in which true wisdom is acquired and to the soul a fulfilment most full of delight.
"In this (the fourth) state, the soul feels that it is not altogether dead, as we may say, though it is entirely dead to the still here and to feel its solitude; and it makes use of outward manifestations to show its feelings, at least by signs.
"How what is called union takes place, and what it is, I cannot tell. It is explained in Mystical Theology, but I cannot use the proper terms; I cannot understand what mind is, or how it differs from soul or spirit. They all seem one to me..."

From: "The Interior Castle" trans. J.Cohen (Penguin, Lon.)
As quoted in The Integrated Science of the Absolute. pp.1054-5

St. Teresa of Avila (1515-1582) belongs to a group of mystics profoundly steeped in contemplative mysticism.
She is torn between a life under the sway of the instincts and one on a higher spiritual level.
She is greatly appreciated in Catholic circles, as representing the highest model of mystical expression acceptable to the Church.


JALAL-UD-DIN RUMI (1207-1275)

(The most well known of the Sufi mystics, best known for his "Mathnawi" among his Sufi followers.)


"O thou whose soul is free of "we" and "I", o thou who art the
essence of the spirit in men and woman,
When men and women become one, thou art that one.
When the units are wiped out; lo, thou art that unity.
Thou didst contrive the "I" and "we" in order to play the game of worship with thyself,
That all the "I's" and "Thou's" might become one soul and at last be submerged in the Beloved."

"Selections from the Mathnavi", trans. R.A.Nicholson
(Allen and Unwin, 1950)



In solitude where Being sinless dwelt,
And all the universe, still dormant, lay concealed in selflessness,
One Being was Exempt from "I" or "Thou"-ness and apart
From all duality, Beauty Supreme,
Unmanifested except to itself.
By its own light, yet fraught with power to charm
The souls of all; concealed in the Unseen,
An essence pure, unstained by aught of ill.
No mirror to reflect its loveliness,
Nor comb to touch its locks; the morning breeze
Ne'er stirred its tresses, no collyrium
Lent lustre to its eyes or rosy cheeks
O'ershadowed by dark curls like hyacinth,
No peach-like down was there, no dusky mole
Adorned its face; no eye had yet beheld
Its image, to itself it sang of love
In wordless measures. By itself it cast the die of love.

Beware! Say not " he is all-beautiful,
And we his lovers" Thou art but the glass,
And he the face confronting it, which casts
Its image on the mirror. He alone
Is manifest, and thou in truth art hid.
Pure love, like Beauty, coming but from him,
Reveals itself in thee. If steadfastly
Thou canst regard, thou wilt at length perceive
Its image, to itself it sang of love
In wordless measures. By itself it cast the die of love.

Reveals itself in thee. If steadfastly
Thou canst regard, thou wilt at length perceive
He is the mirror also - He alike
The treasure and the casket. "I" and "Thou"
Have here no place, and are but fantasies
Vain and unreal. Silence!
For this tale is endless, and no eloquence hath power
To speak of Him. 'Tis best for us to love
And suffer silently, being as naught..."

Poems from the Persian, Trans E.G.Browne (Ernest Bevin, Lon.)


Is there a way of controlling one's thoughts?
The Bhagavad Gita says that it is very difficult.
The mind will not stop with a picture of Krishna...
The Upanishad gives you a serious answer here.
The association of ideas is the main function of the cannot put a stop to the association of ideas. (Sankalpa-vikalpa mannocahal...

It is not so easy to teach meditation, but there is a method to meditate- that is the secret.
Source - there is a locus in the psychophysical make-up, a hub - find it... thought becomes extinct in its own source. Put the brake on the source.
You become your thought; you go to the very centre - the hub.
Pratyagatma: like burning petrol. Destroy both good and evil in the melting pot, says Vedanta.
The soul stayed on the soul: the Self and the non-Self meet somewhere: another secret.
We are attached to something nice; we are attached to that;

How to deal with Sin? Cancel the Self with the non-Self.
Vertical-mindedness is to be cultivated; horizontal-mindedness is to be avoided.
Do not be lazy, be alert and active for meditation, not sleepy.
Come to mindlessness, not concentration - that is only crystal gazing.
The mind must become transparent to itself; it must be abolished.
Knitting the brows is an effort - do not trouble yourself.
Does LSD make you happy or tired?
I won't take it again - time was hanging: when time is longer than you think, that is suffering.
Meditation when time flies is a good meditation - this is a simple test.
"So long..." - the mind must meet its end in the heart, not by chemicals.
Cancel in the heart: that is both knowledge and release.
"Grasp with the inner organ..." - that is all you can do -
suddenly grasp the nature of the Self and the non-Self: it happens.
Understanding is the innermost event.

What about the Bhoktas? - There is no...without knowledge.
Read the originals. Most people are looking for curiosities.
Washed away by concentration: abolish the mind by making it transparent to itself.
Meditation is cleansing the mind, according to Sankara.
Adjust yourself properly with a guru - it will come to you.
No difference... - the Self and the non-Self have a one-to-one correspondence between them.
You should not discriminate between water and water: do not cultivate duality.
Seeing the duality (finding the difference) is Pravritti Marga (the positive path).
This is Nivritti Marga (the negative path).
The mind is a double-sided organ: put the two sides together and they will trap you from one side or the other.
This is like the two-sided drum of Shiva
- the beating must stop from the two sides at once.
Do not think that you can get this "like that".
It is not humility that is needed, but a willingness to listen.
Otherwise there is nothing.


Who is the good Guru?
How do you know that you have a good Guru?
Even if it is the wrong Guru, your correctness can supply the seed and knowledge can come.
You have to be willing to listen...did he say something subtle?
What's the big idea? We build a bridge...

You have to have two sides - a baby cannot be born without there being a husband.
Similarly, a Guru is needed to supply the theoretical non-Self side...
Do not think that because you are intelligent you will get it;
It is not from the same side - you have to accept it from the other side;
that is all they mean when they say you need a Guru.

Transcription verse by verse.
Verse-by-verse playback.

1. You have to know what a source is.
There is a source.
Pralaya prabhava sthanu bija madi (? ED): there is in yourself a root aspect of all functions.
There is a place, a locus, in your psychophysical make-up where everything meets like the spokes of a wheel.
You have to discover that part, then if you can feel that part in yourself, there it will come and join.
Where is the source of desire? ...So, go to that source.
So finding that source is the is a secret.

2. "Because the real the mind seeks...":
the mind is always seeking what is real, so if you take it to the Self,
it will say the Self is real - there is an Absolute hiding there.
"For one confused...controls": if you do not know to put the brake on at the source, there are all sorts of other false controls that will distract you.


3. "Samsara...mystery": you become your thought; how can you become your thought? If you go to the very centre of your psychophysical makeup, it is like a hub. There pratyagatma is the negative aspect of yourself, it is like setting fire to petrol, or when there is a frying pan filled with oil and it is too hot and suddenly catches fire.
Something like that, when you are meditating intensely at the source, suddenly the pratyagatma is revealed, and that is the way to arrive at the source.
Eternal mystery...

4. "For by destroys...": both of them are destroyed together - not that you become a sattvik (pure) Brahmin.
People will say: "I become a sattvik Brahmin"
These wrong teachings are all countered by the Upanishads which say that good and evil are to be cancelled.
Some people say you must have "good karma" and then evil will go away.
No, no, that is Vedism: you have to put good and evil together in the melting pot: that is Vedanta.
Eating "sattvik" food, ritual bathing in the morning, putting on ashes etc., the only good from all this is Brahmanism - that is not Vedanta.
Many people mix up these two things.

"With soul serene...stayed on the soul": stayed on the soul: that is another secret.
Stay where? It must be established on the soul.

"Delight...enjoys": that means that the Self and the non-Self have to meet somewhere and one is stayed (?) on the other, or is fixed on the other.

5. "As": there is another secret here...
It looks simple, but it says that we are attached to things.


Supposing you are attached to something nice to eat
- the mind is fixed on that.
In the same way, bipolarity can be attained with the Self and the non-Self
- then everyone will be released from bondage.
The Self must be cancelled against the non-Self.

6. "The mind": so pure mind is verticalized.
The impure mind refers to objects: so the horizontal mind must be avoided and the vertical mind can be cultivated.

7. "By making...freed.": "distraction" means alasya (laziness and distraction):
you have to cultivate a lot of activity for meditation: a lazy man cannot meditate. He must be very, very active and alert, willing to do anything...
an easy chair and sleeping will not do...sleeping is a form of laziness...
meditation is a form of alertness...
They will say: "Oh, yes, I am always meditating when I am sleeping"...these are false Sannyasins.

"When": come to mindlessness - but people will say:
"concentration of the mind" - there is nothing called "concentration of the mind" - this is all wrong psychology.
How can you concentrate? ..." Gaze at this!"... That is called crystal gazing or hypnotism, that is not meditation...
What is meditation? Mindlessness: the mind must be abolished: mano nesham vasanaksharya.
You should not think of mind; a part of the mind becomes transparent to itself, it becomes clear and it is not thinking hard about anything.
A man sitting with knitted brows is not meditating - he is a false Sannyasin.
There is no effort to make - empty your mind.
By making an effort you are only increasing your trouble...
LSD does not make the mind empty because it makes time go more slowly, by definition.
Time hanging is suffering; when time is shorter than you think, it is pleasure.


This is the easiest way to see if you are suffering.
On LSD I felt 32 hours of doing something - too much like work. I am much happier if I am sleeping or meditating normally. It might be as beautiful as you like - but are you suffering or not? The happiness of seeing copper-coloured zinnias is only a detail: what about the time factor?

8. " So long as...words. In the heart it meets its end.": it must meet in the heart; not in any chemical reaction or anything.
It must meet its end and be cancelled out by itself, through itself and in itself.
Then it is all right.
"Both knowledge and release...": you should not say that it is release or knowledge; it is neither the one nor the other. All else is but a string of words: they will say there are all sorts of meditations...that means that they do not know the secret cosmology and psychology of the mind.
The psychology is given here. The Yogis, who have tried to talk about the subject, they give you the proper perspective. Aldous Huxley is not a Guru, he is not necessarily right.

9. "With mind's ...inner organ.": so, grasping something with the inner organ is all that you can do. There is nothing more or less...some people say: "now I have found the secret of the Self and the non-Self": they grasp it with their own inner organ.
That happens suddenly by intelligence - not by chemicals or emotional upsets...understanding is the innermost event. You can try emotional upsets - they are all outside.
"Jñanena pakasya yanjivat": Sankara says it is just like cooking paka without fire. " Without knowledge there is no...."


What about the Bhaktas? What do you know about Bhakti? (Bhakti = devotion.ED)
Ramakrishna is not a Bhakta - if he is a Bhakta he is wrong.
Without knowledge there is no Bhakti... Read the respectable, original books...
There are a lot of books in the railway station bookshop...most people are like that... as intelligent in ten years as they are now...always "looking around" for a swami, one here, one there... are they serious?
Concentration is not gazing, but sustaining - manas shudhi citasya sudheya karma.
Why meditate? Sankara says: only for clearing the mind, not for attaining God.
God does not come by the mind, but by abolishing the mind.
How do you abolish the mind? By making it transparent to itself. How?
That is a technique that is recommended here and contains a secret;
you cannot get this just by some kind of miscellaneous books written for selling fast.

"Impossible...language": he says it is impossible.
"Oneself...inner organ": it will come to you when you are listening properly to a Guru with great attention, when suddenly it will come to you - say: "This is the real path...(unclear)".

10. "In water...discern": NOT discern; you should not see any difference between fire and fire when they are joined: you should not say, "which is the fire that joined the other fire?"
Difference must be cancelled out. See no difference between rainwater and river water; that means that the Self and the non-Self must participate directly with one-to-one correspondence between them and not in any other way. In air one should not discern - it is not that one should discern.
It is unity that you are seeking, not difference.
You should not discern anything: you should say:" This water I mixed with another is the same; I do not see any difference between them"


So, that is abolishing duality, not cultivating duality. Some say:
"Oh yes, I am so clever I found the difference": that is Pravritti Marga
(the positive path), this is Nivritti Marga (the negative path)
it is very difficult to teach this second Marga.

"So he...everything":
if a man can attain this kind of Self-non-Self transparency he is released -
not by hypnotism or anything; that is a trick.

11. "The mind...mankind...release":
Manoyeva manasyanam karanam banda mokshayoho - the mind is a double-sided organ; it will bind you at one side and release you from the other side; so when you put them together it is like the hour-glass drum that Shiva carries (damaru): it will beat both sides. The beating of both sides must stop; you should not beat both sides.

"For bondage...release": " Objects bound," means horizontally going like that
- it will make bondage. "From objects free" means no sound - it is verticalized:
one absorbs the other.

But I am telling you; there is a subtlety here that cannot be taught...
You will think that you have understood not think it will go so easily
- please be patient and listen to a Guru with full respect and you will get it one day...these things are all to be learned slowly in a certain mood which is very difficult to cultivate: it requires humility - very great humility - not even actual humility, which does not matter- it is a mental attitude of susruha (willingness to listen), not humility of getting up when someone comes into the room or making namaskaram (salutation) or anything: no - willingness to listen - is this a sensible man telling you something worthwhile?
If you do not believe it, how can you get it? He is telling you something: he says it is a secret - please listen.


Can you get it?
Of course, the same words can come from another guru also,
so how do you know you have got a good guru?"
My answer is: "How do you know you have got a good husband?"
Are you going to wait like Sita for Rama?
You won't get married.... All right, you can wait.
Any husband is good, for the purposes of a baby.
If it is for listening to the truth, only some gurus are good.
But even if it is a wrong guru, your earnestness can supply the seed for your knowledge to come, even from a wrong guru.
It depends upon two sides. Everywhere you have to be willing to listen - with great attention - very deep in your heart.
"What did he say?" Americans will not admit anything subtle:
"we are Peace Corps people!".
You have to have two sides...the baby has to be born from another side
- don't think you can create the baby yourself.
You can try as hard as you like; you cannot make the baby come out of your behind...
It requires a husband; something like that,
It requires a guru, it requires knowing it from another side.
You are the Self side, the non-Self side must be there;
you have to supply the non-Self side; of course, you can supply it yourself...
like artificial insemination...anyhow, something has to be done.
Don't think you can get it yourself, even if you are intelligent. It is a two-sided affair. That is all they mean when they say that a guru is needed: it is not from the same side, you have to accept it from the other side.


(FROM HUME: 447 -8)

This Text should properly be introduced before the transcription of the tape, when these notes are finally edited.

Liberation in the control of one's thoughts.
On this point there are these verses:
1. As fire, of fuel destitute,
Becomes extinct in its own source,
So thought, by loss of activeness
Becomes extinct in its own source.
2. Becomes extinct in its own source,
because the mind the real seeks!
For one confused by things of sense,
There follow action's false controls.
3. Samsara (illusion) is just one's thought,
Deeds (karman), good and evil, one destroys.
With soul serene, stayed on the soul,
Delight eternal one enjoys!
4. As firmly as the thought of man
Is fixed within the world of sense
If thus on Brahman (the Absolute) it were fixed,
Who would not be released from bond?
5. The mind is said to be twofold:
The pure as also the impure;
Impure - by union with desire;
Pure, from desire completely free!
6. By making mind all motionless,
From sloth and from distraction freed,
When unto mindlessness one comes,
Then that is the supreme estate!
7. So long the mind should be confined,
Till in the heart it meets its end.
That is both knowledge and release!
All else is but a string of words!
8. With mind's stains washed away by concentration,
What may the joy be of he who has entered Atman (the Self),
Impossible to picture them in language!
Oneself must grasp it with the inner organ.
9. In water, water, fire in fire;
In air, air one could not discern.
So he whose mind has entered in -
Released is he from everything!
10. The mind in truth is for mankind
The means of bondage and release:
For bondage, if to objects bound;
From objects free - that is called release!


Connaught Rd. 22/7/72


VI, 19: " Withdrawn from sense-objects into absence of all thought"
Now, it has elsewhere been said: "Verily, when a knower has restrained his mind from the external, and the breathing spirit (prana) has put to rest objects of sense, thereupon let him continue void of conceptions. Since the living individual (jiva) who is named "breathing spirit" has arisen here from what is not breathing spirit, therefore, verily, let the breathing spirit restrain his breathing spirit in what is called the fourth condition (turiya)(1): for thus has it been said :

That which is non-thought (yet) which stands in the midst of thought
The unthinkable, supreme mystery!
Thereon let one concentrate his thought
And the subtle body (linga) too, without support.


VI, 20: " The selfless, liberated, joyous vision of the Self (Atman)"
Now, it has elsewhere been said:
"One may have a higher concentration than this".
By pressing the tip of his tongue against his palate, by restraining voice, mind
and breath, one sees Brahma through contemplation!
When through self, by the suppression of the mind, one sees the brilliant Self which is more subtle than the subtle; then having seen the Self through one's self, one becomes self-less (niratman).
Because of being self-less, he is to be regarded as incalculable (asamkhya), without origin - the mark of liberation (moksha).
This is the supreme secret doctrine (rahasya).
For thus has it been said:
For by tranquillity (prasada) of thought
Deeds (karman), good and evil, one destroys!
With soul (atman) stayed on the Soul (Atman)
Delight eternal one enjoys!

VI, 19
There are two breathing are asked to think of restraining your prana (breath), called (pranayama) and the jiva (the breathing soul). Then there is the turiya. (fourth state of consciousness)..also the linga (subtle body) have to find a neutral point between all these: when you meditate there, you are supposed to be doing correct Vedantic meditation.
Swamis write their own textbooks...there is great confusion...better that you keep your mouth shut.
In order to know what teaching of yoga to take seriously you have to have a philosophical background and examine the correct epistemology, methodology and axiology as well as psychology, cosmology and can get the proper perspective and insert yourself properly into the context of yoga.

If you do not insert yourself, you do not know which is being joined to which. Yoga means joining something to something else and finding the cancellation point.
What is joined to what? You have to abstract and generalise about your own Self and the non-Self, and how to exactly find that point where the junction can take place.


There are certain metals that can be soldered to other metals because they have a homogeneity between them...the same rule holds good with the mind ...there are certain places where it will join together and articulate, and others where it will not....
If you want Hertzian waves to come, you have to have an electromagnetic wave and an have to join it in a certain way. Similarly in Yoga there are technical points, which depend upon an understanding of these words: jiva, turiya and linga...What is "linga sarira"?
Precise definitions are needed, or else it is just endless talking.

"Withdrawal.... absence of all thought" - How to make all thought stop?
That means emptying your mind. All thoughts must stop....
Thought is based on the association of ideas, and as long as there is association of ideas it is not possible to stop the mind, to stop the association of ideas...
(Guru talks about a porcelain factory, a picture frame, etc.)
The Gita says it is impossible: "...maha baho mano" to stop the mind, even for Krishna, who admits this to Arjuna in the Bhagavad Gita.
Crystal gazing, etc. is all spurious.
If the mind's function is to stop, it must have some higher interest.
If it is completely absorbed in something more interesting than ordinary things - in that subject which is highly interesting - it can stop for a minute. Without that higher interest it cannot be made to stop.
What is that higher interest? It is all brought out here:
The Breathing Self, the Jiva, the Turiya, the Linga Sarira.
These things have to conform to the mechanics involved and you have to first stop the concepts and find the trait d'union or link between concepts and percepts. Then you should think of that link; then go to the denominator side and absorb it negatively and bring it to the focal point. Then by that long practice of abolishing duality in a certain way known to the Upanishads and the great Rishis (sages) - if you follow their advice, you can stop all thought.


"Now ... restrained his mind from the external"
First you should practice Pratyahara. You should find something interesting in yourself; you should think of your own childhood, and then external objects will not come...thinking of schooldays and walking as a child...well, then at least to that extent the mind has gone into memory and is not distracted by external things. It is something you are feeling. So that is one way of meditating.
"Verily...(prana) has put to rest objects of the senses"
The arrow of action is jumping from one object of the senses to another...
How do you put it to rest?
Go like that - and find something more interesting inside you.

"Thereupon ...void of conceptions"
Do not look around, shut your eyes...objects will remind you of something else...
you should not look with open eyes...that is called pratyahara.

"Since ... let the breathing spirit restrain the breathing spirit in....(Turiya)."
A technical instruction; "breathing spirit" - when you can cut off these things - empty your mind - come to inside feeling, and then you are conscious of the fact that you - that is life - is functioning... Breathing is a function, like you go to this function and you tackle it and you say: " I want to breathe so slowly and imperceptibly that I won't even know whether I am breathing outwardly or inwardly".
That means, practice pranayama (control of the breath).
Cancel your ingoing breath with the outgoing breath so you do not feel anything.
You can do that by a little is only peripherally minded people who think they are breathing out. The centre of the two breathing processes is a neutral mukhya prana, which is neither breathing outward or inward. That is the centre of it.


"Since...(Jiva, the breathing soul). has arisen from what is not breathing spirit"
It has arisen from something deeper. So go, stilling your mind from external objects...then you come to a place where you can see there is a deeper breathing, a deeper seat of life, and you see that your breathing is a kind of numerator function that remains on top of the ocean, and deeper than the ocean there is no real - something like that: you reach the non-breathing, not the breathing spirit.

"Therefore verily... (Turiya)"
"Fourth condition," means pure fourth dimension...independent of any mere movement. It is a deep-seated immobility.
The "unmoved mover" of Aristotle in Western Philosophy, an immobile thing, this is immobility; it can sit there.

Turiya (the "Fourth State" of consciousness) is described in Mandukya Upanishad.
"That which is non-thought...without support"
So the subtle body (Linga) are allowed to think of it. Why?
Because there must be a Denominator to cancel against the Numerator.
To find the middle without thinking of the negative side is not possible where duality has been completely abolished; that is Turiya. Breathing is another function of the Numerator side...calm it...make the outward go into the inward...then you can still your mind. That is called the practice of Yoga.
This is a very good point and you can question Swamis about it...(long talk on the Yoga teachers; three pages)... so, you cannot teach anything.

" enjoys" (The entire section)
So Niratma is the goal of Yoga...orthodox people will say that "nir-" means "non" - non-atma, and that means Sunyavada...that is nothing...all the ordinary books say that you should find your soul.
Here it says that the non-soul should be found. How to reconcile that?
This all requires annotation and deep have to scrutinise these words.


"Having seen the Self, through one's self, one becomes self-less (Niratman)"
So the ideal is to be self-less: doesn't this sound like nihilism?
When one is cancelled against one in mathematics, you don't get nihilism, you get one, and that is not zero.
Even math accepts it, you don't abolish anything.
The unity is there; the univocal Absolute is there, this is the difference between Vedanta and the Sunyavada Buddhists.... they say there is Sunya, nothingness - there is a void.
But Vedanta will say that there is One, whatever you do, there is yourself.
Cancellation always gives you one, never Zero.
Zero is a horizontal number; there are transfinite numbers, imaginary numbers, irrational numbers and incommensurables.




Apte says there are six mystical circles called Chakras,
though Visuddhi could not be found.
1 - Anahata - related to sound
2 - Swadhisthana - inborn
3 - Manipura - navel, pit of stomach
4 - Muladhara - mystical circle above the organs of generation...root or cause.
5 - Sahasrara - a hole at the top of the head like an upside-down lotus.

Sankara's treatment gives Sahasrara and Kulakunda as not part of the six Chakras.
The Shakta Upanishads, specifically the Saubhagya Lakshmi Upanishad - are all esoterics. I am not an esotericist or a Theosophist.
Sankara has revised and revalued the whole thing and given eight centres that can be seen from the points of view of the disciplines of cosmology, psychology and theology.
Six Chakras are found in the Saundarya Lahari.
Sankara can be trusted as the one who knows this, because he has critically treated the Prasthana Treya: the three canonical works of Vedanta: the Bhagavad Gita, Upanishads and Brahma Sutras.

Fuse millions of suns, the Mahatman of Oppenheimer (refers to him quoting the Bhagavad Gita when he witnessed the first nuclear explosion: "If a thousand suns should rise…"), a supernova, something in the sky that burns out.
How to put the moon in it? It does not come on the same side as the sun; it is the opposite pole from the sun, like a black and white photonegative.
Ajña Chakra is intense thinking in the world of mathematics: infinity.

slc9 - p46 - v36.jpg

Full voltage tube light; brilliant light.
Fire must be in the middle, because it is here, in our homes.
Pure means abstract; it means practical, that's all.

Ajña Chakra is a very wilful, very intense meditation - not one thousand or a hundred thousand or a million, it only means intensity of quality.
Quantity, when pushed to its limits beyond the possibility of thinking, becomes quality.
Mathematicians do many things by convention, such as 1/0 = alpha.
What is one? Or zero? Or infinity?
Intensely intellectual cancellation (in the mathematical mind).

The female partridge is used by the poet to indicate the negative part of consciousness.
Contemplation means a slightly dim or subdued, subjective world.
Visuddhi means pure or clean, but not effulgent, like Ajña.
This light is more subdued, fluorescent in quality; closer to the consciousness of the partridge.
This is 2/2 cancellation instead of the high-pressure
1/1 cancellation of the Ajña Chakra.
Imagine a bird, which has moonlight as an exciting factor in its life.

The partridge is excited about the positive part and the negative part of moonlight: the positive part is outside the partridge, the negative part is inside the bird


An ordinary city garden, where there are two swans in a pond.
Art is interesting and worthwhile for human life, like milk.
Water is negative and milk is positive.
Milk is negentropy and water is entropy.
This is the cancelling point.
The Numerator is specific: the particular art that humans enjoy.
The Denominator is the meshwork of all the arts.
Anahata means "never killed, whole"

A breeze can cancel the heat of summer; the cool morning can cancel the fatigue of hot lovers after a ten-hour night of lovemaking.
This is common in Kalidasa: one drop of water from the cloud is enough to cancel the fatigue of the prostitutes who have wounds on their bodies from over-passionate camel-drivers.
You can put cancellation at any level. Cancellation by oneself:
two aspects of ontology in the Swadhisthana Chakra.

This is the full delight of a crashing, smashing thunderstorm:
The most real and phenomenologically valid experience known to everybody.
The terrible thunderstorm is glorious like Kali - a state of mystical wonder.
Manipura means, "full of gems".


Put yourself in the position of a year-old child crawling on the floor, badly wanting a mother and father - both of necessary function.
That gives the proper perspective for this Chakra.
Marriage is not a joke; even Shiva has to come down to give a father and mother to the world, where children badly want someone to cry to.
A father is required, especially for girls.
There is a weakness between father and daughter.
Frustration in childhood from cruel parents is really a disaster in one's life.
The worst cruelty - the saddest thing - is when the father beats the sixteen year-old girl for kissing a boy in the village; they will walk out and die to make the parents sorry.

Confer parenthood upon the world, because the child needs a father.
The copulation is the horizontal aspect, which is incidental.

("To thine own self be true..." (Polonius to Laertes in "Hamlet") is the only way I can verify this. If it is true to myself, it must be true to everyone else - because I have nothing to gain.)

Conferring parenthood in V41 must be understood from the point of view of the crawling infant who gets excited at the sight of the boots of anyone.

If both sides of the series of Chakras are the same, then they cancel out.

The two swans of Anahata in V38 cannot be considered a Chakra at all, because it is the ordinary, everyday reality.
There is no abstraction and generalisation there - it is a p...(?)

The Samaya cool breeze Chakra, in Swadhisthana, V39, cancels at every level.

CHAKRAS From the Omega Point downwards:

1) Sahasrara (Brahma Chakra)

2) Ajna

3) Visuddhi

Then comes 4) Anahata between Chakras and Adharas


5) Swadhisthana

6) Manipura


Then at the bottom is the Alpha Point


Some Chakras can be omitted, because a Chakra is a geometrical abstraction.
A Chakra is a "wheel"; Sahasrara and Muladhara are opposite in status
- teleological and ontological respectively.
So there is a difference between Chakras and Adharas:
Sahasrara is not referred to as an Adhara, but as a Chakra,
Muladhara is the opposite, not technically a Chakra.
We have the advantage now of using modern mathematical language,
rather than poetry and myth.
A perimeter of a conic section was described as a row of bees in ancient times:
cf. The "chose mathématique " of Hilbert.

A Chakra is a geometric figure like a wheel.
An Adhara is a feeling of enjoyment within you.
This distinction can be made now in the light of the modern mathematics of "formalism", the structural mathematics of Hilbert and other modern mathematicians.

There must be something concrete - as either a percept or a concept - in your hand, in order to talk or describe Chakras.
Everything in unity is too thin to think about

You have to give it a content; describe it as a lotus on top,
As father and mother on the bottom and as a lotus breeze in the middle.

For methodological purposes, at least have a residue in the series of Chakras
for the sake of thinking about it:
- take away one from the pure mathematical abstraction of ten Chakras which is too thin to talk about: leaving nine.
- take away another one of less abstraction for more real content: leaving eight.
- take away two more in the name of the concrete to see them as the climate - the six seasons.
- take away two more to make the four basic elements - earth, air, water and fire, as the most tangible and real ontological solidity.


There are two limits of truth:
Axiomatic truth, without content (an axiom has no content),
and Factual truth, which has content.
You can use latitude between them as Sankara does,
by giving Sahasrara and Kulakunda separately.



























The text states:
" By meditating on these Chakras day by day, you will gradually attain Siddhis (psychic powers)"


This text is anterior and REPUGNANT TO THE SPIRIT OF VEDANTA.
This is exactly what Sankara revalued. Make no mistake about this;
where is the Tantra here?
People talk about Tantra and Chakras and Adharas, but I was born in India and have seen all the literature and I say this is all nonsense.
But there must be a source in a sufficiently old text from which both these Upanishads have drawn this information, since there is some agreement between them; they appear to be older than Patanjali.


1 - The petals increase as you ascend.
2 - A phallus in the centre is a Shiva principle, a vertical axis.
3 - Hypostatic and Hierophantic are described by a lotus right side up and upside down.
4 - The two last ones (limits) have the word Brahman (the Absolute) - they have an interchangeability of status.
5 - Increasing polygons.

NOTE - The Chakras of the Yoga Raja Upanishad have to appear in reverse order to the one here, but the numbering is correct - see two pages back.
Saubhagya Lakshmi puts Brahma Chakra (no.7) at the bottom, Yoga Raja puts it (no.1) at the top)

They must have been practising Yoga in caves and they wrote down their experiences, which were not clearly stated in philosophical terms until the genius-philosopher-saint Sankara came along.


Narayana Guru must have practised every kind of Yoga, but never mentioned Chakras. He politely dismissed the whole thing.
He only had one Mudra, which is like a Chakra - a mind gesture.
That is Kechari Mudra, a psychophysical attitude that abolishes fatigue and sleepiness.

Vyoma Chakra completely revises Patanjali and Bogatika.
Woodroffe's "Kundalini Shakti" is all bosh! Where does he get it?
From what source book?
In his ten verses on Yoga, Narayana Guru does not even mention Chakras.
I want to get shot of this thing, you can goon talking and can go on mystifying things...
Sankara gives a normalised picture and a still more normalised picture is given by Narayana Guru in his ten verses on Yoga in the Darsana Mala, where he completely bypasses the kind of vague picturesque language called Chakras.
The last word on this subject: all this is so much baloney.
Sankara is the only man who made an attempt to put order in the subject.
The Divine Life Society and everybody talks glibly of Chakras, but they do not take the trouble to define or explain anything of what they say according to any philosophy.

Nine as a basic number is accepted by Sankara in two respects in V 11, thus perhaps agreeing with the nine Chakras of the two Upanishads here.


1 - Hatha - means facing yourself with wilful determination,
and psychophysical culture (Asana).

2 - Raja - the public way (of the King) controlling the Prana (breath)
seat, using vital centres.

3 - Laya - (melting and uniting), meditation, bringing together
and cancelling out mentally two opposite things.

4 - Mantra - Samadhi


Sankara respects the parity and chirality or handedness of the Ida and Pingala nerves, though he does not use these terms.
A Shiva Lingam (phallic symbol of Shiva) with a Yoni (female symbol of Shakti) is to be kept in mind, because they represent Siva and Parvati - the only subject of Tantra Shastra.
The Father of the universe has his penis penetrating from the other side into the vagina of the Mother.
The juice of the orange is formed from two opposite sides, which can be seen in cross-section.


Shiva's limit: his penis enters into the centre of the whole thing from above,
from the Absolute, an amorphous thing like a tree.
Horizontal maturation occurs between these two limits.
The Navel of the Yoni, the Mother's limit: there are two depressions in every fruit, marking the two references.
It takes nine months of maturation for a child - it is a kind of fruit.

There is a mother dropping roots to the children of Chinatambi.
The coconut is a protolinguistic element...break it exactly into two pieces along the equator... a garland represents the whole range of yourself...a Hindu marriage, with the exchange of garlands means that the spouse belongs completely to the spouse - a serious thing... Purna Kumba (offering of a coconut etc.) is a tantric ritual.

In Saubhagya Lakshmi Upanishad (Lakshmi is a woman's name) the Chakras are listed inverted, upside down.
One of these Upanishads is called by the name of a male god,
The other by a woman's name - they are the same except for methodology,
so there is perhaps a basic agreement.
Sankara also has Shivananda Lahari in the same way - with reverse methodology.
The two lists are inverted because one refers to the eternal feminine and the other to the eternal masculine.
The fact that it is called an Upanishad means that you have to prove that it is not dignified.
An Upanishad deals by definition with the subject of Brahman.
The authenticity of other texts, like those found by Woodroffe, is debatable.




9 - Wheel Of Space - 16 petals upward, central pericarp like triple peaks, supreme void, and fulfilment of all desires.
8 - The Wheel of the Brahma Orifice: Nirvana, a thread of smoke, and the seat of wishes, the Supreme Brahman.
7 - The wheel of the brow: a thumb-measure, the eye of knowledge, like the shape of a tongue of flame.
6 - The Wheel of the Palate: the void = the mind dissolved.
5 - The Wheel of the throat: Anahata = the unstruck note, four fingers, the Ida on the left, the Pingala on the right.
4 - The Wheel of the heart: eight petals facing downwards, a central phallus of light - a swan enchants all.
3 - The Wheel of the Navel: the Manipura, a whirlpool serpent, a crore of suns rising like lightning.
2 - The Wheel of Swadhisthana: a west-facing phallus.
1 - The Wheel of Brahma: the basic wheel.



Thus there are two verses, eighteen in all, for each Chakra.
Put the two verses together: this is a dialectical revaluation of the Saubhagya Lakshmi Upanishad.
They are parallel instructions to meditate on.
Numerator and Denominator sides are both supplied.

"Out of the nine wheels - melting..."

1 - Brahma Chakra: of three concentric circles, the outgoing seat or root-bulb of desires.
2 - Swadhisthana: a lingam, a coral-coloured sprout, churning the whole world. A lingam facing west.
3 - Nabhi (navel): the world is now inside, outside-in and inside-out like five loops of lightning, all Siddhis.
4 - Hridaya (heart): a swan, a happy disposition, pleasing, not uptight or spaced-out, comprises the whole world.
5 - Kantha (neck): Ida (left) and Pingala (right), right and left -handedness.
6 - Taluka (uvula): the tenth orifice (why?), Sunya = emptiness, (meditate upon)
7 - Bhru (brow): a Bindhusthana, emits light.
8 - Brahma Randhra (hole, passage): gives Nirvana, thin smoke, and watery-blue consciousness.
9 - Vyoma (sky): the Devi, the feminine principle of ultimate knowledge, spiritual perfection.



"White Hole"
V9 - Sahasrara
V36 - Ajña
V37 - Visuddhi
V38 - Twin Swans
V39 - Swadhisthana
V40 - Manipura
V41 - Muladhara
V10 - Kulakunda
"Black Hole"

Lahari = an overpowering sense of beauty, Aesthetic Value


The Sri Chakra: "A Final Angular Refuge"
The Sri Chakra is a mathematical relational set-up, not to be mixed up promiscuously with the aesthetic value of Beauty Appreciation.

You are supposed to feel pity for Prometheus bound to the rock, as also for the tragedy within the transparent stomach of your own mother where there is a tree about to fall down from the bank of the rushing river.
Absolutism is the same as tragedy: "Othello" is an attempt to provide an overwhelming sentiment.
But the Sri Chakra is not a sentiment; it is a mathematical structure suitable for analysis.
The "black hole" and the "white hole" are mathematical entities, not actual entities or existent values.
There is no beauty in the Sri Chakra itself; there must be line, light and colour for aesthetic appeal; this has only line.

Why are there only nine and not ten Chakras?
You cannot cancel unless you are on one side or the other:
If there is no bias, there is nothing, it is all cancelled.

Overfocus means the objective side of beauty;
Underfocus means the subjective side.
Correct focus means what?


TAT TVAM ASI - ("thou art that" (the Absolute)) what is it? What do you see? Only yourself?
TAT TVAM ASI is not beautiful or anything.
To see anything beautiful you have to under- or over-focus:
In between there is nothing; don't talk!

1 -Shiva's beauty is mathematical in a positive sense:
the essence of double assertion as a limiting instance.

2 -Tat tvam asi is in the middle.

3 -Shakti's beauty is mathematical in a negative sense,
the essence of double negation as a limiting instance.


According to your epistemology, you can build your philosophy in only two ways:
either ascending: "cogito ergo sum"
or descending: "believe in Jesus"

Christians have preached for two thousand years that Satan is a bad man who will make you fall in love.
It is foolish to attempt to eradicate sex from your system.
If you do eradicate sex completely, you will die on the spot.

1- Chirality (left and right handedness)
2- Parity
What is the guiding principle in giving a content to these terms?
The secret of chirality (handedness) is that there is a complicated non-mechanical
geometry between the right hand and the left hand:
why can't a tailor make you a glove from its mate?
Why is that? It is a secret of the universe.

Sankara is the last word in wisdom, but if he can be corrected by
modern ideas of mathematics, thermodynamics and electromagnetics
then we can correct him also by our advantage of having this new language.
The intuitive approach is what reconciles the experimental approach and the axiomatic approach.
Sankara knows epistemology, methodology and axiology better than anyone else, which is evident from the Bhasyas on the Prasthana Treya (commentaries on Upanishads, Gita and Brahma Sutras).


The Brahma Randhra (chakra) contains nothing,
only a thin thread of smoke = a slight trace of negativity.

There is a slight asymmetry - a vestige of duality between the plus and minus sides in each Chakra such as the Wheel of the Brow where the masculine side emits flame while the Devi just has a tongue of flame there.
But Sankara even abolishes this duality and attempts to make male and female come closer together: he presses physics and metaphysics closer together.
A slight asymmetry is necessary for epistemological and methodological purposes of describing it, because at the core of the Absolute there is nothing to say...if you don't allow me starting postulates, there is nothing I can say... if you want to open your mouth, you must open it with methodology.

Anahata means, "not struck", a bell that is just hanging there unstruck; a neutral position neither exalted nor depressed.

The two swans are Ida (left) and Pingala (right). (the left and right nadis (filaments) of the verticalized nervous system)

Sankara has a system of philosophy, which means logic is introduced there as opposed to just mystical literature.

Sankara, Hegel and Kant created systems of critical philosophy, but mystical visions are not philosophies, not numbered and critical, but are seen by intuition and described by analogy.
Ajña: he has shunted off the too theoretical ones because they are too intellectual, in Ajña you will feel something glorious, it will have an effect on your nervous system.
Vedanta is not idealism, it is real: meaning that it is experienceable, you should feel something wonderful.
Mystical feelings are felt by the child in the womb; it is in a mathematical state with subtle feelings to match.

Anahata: every student knows it when he goes to the garden with a lotus pond, with a girl on a summer's day.

Manipura: when the terrible thunder and lightning comes.

Muladhara: known to a six months-old baby crawling on the floor, who hears the voice of his mother and father.

Swadhisthana: the cool morning breeze in hot summer or (for lovers) after a long night of lovemaking.
It cancels all of the suffering for the whole night: that is the secret called cancellation.
Sva-adhisthana = "one's own foundation": your own basement, depending on yourself from the bottom, where the Devi is found.

Idealism is making a story about wild horses vomiting fire in heaven, as in Plato.
Advaita rejects this kind of telling stories. Instead they give more down-to-earth examples, like a beautiful thunderstorm.
Isn't that beautiful? Isn't it the Absolute?


The thin waist of the dancing girl on the side of ontology turns into the fat waist of the Guru on the side of teleology.
This is the trick of making a full moon out of two crescents: mathematical transportation.

In every verse can be seen a two-sided Sri Chakra,
interplay and interpenetration.
A dance between Nataraja and Kandukavati, such as the alternating intensity between the lips and the truth.

Cybernetics in the brain: there are three levels of logic function in the human brain, of increasing abstraction and generalisation. This can be seen in the way the brain brings together the two different impulses from each eye into a final stereoscopic vision.

Digital (this is not entirely clear ED)



Fire at the Omega in the mind of the male.
Fire at the Alpha point in the vagina of the female.
The two elements of the Sri Chakra.



The series of Chakras is supposed to represent the whole of the experience of the human psyche, including the negative side of the woman's psyche, such as the menses.
These Chakras cannot be finalised with this kind of language (metalanguage)...

You should know how to extract the truth from a myth.
A myth is a kind of lingua mystica; a special language which conveys an experience by analogy, parable, fable or figure of speech. A literary device to convey something other than what it actually says.
Sankara takes the older idealisation and symbolism of mythology and revises it, giving a picture you can verify, because it is correlated to the range of real experiences available to every man in the world, because related to the seasons (Chakras).
Sankara is against idealisation.
He has normalised the Yogashastra (texts on Yoga).
That is the beauty of it.
When he uses mythology, it is only a thin veneer, which does not hide the structure that he wants to reveal.

It is an actual seasonal phenomenon that Sankara relies upon to describe his series of Chakras, like morning and evening.

He makes use of mythological monomarks because there are no others for these functions.

At the end he strikes a balance between the gods and goddesses to reveal the Absolute...he says your own body can become the function of Kama Rupa.

He avoids esotericism and symbolism by not referring to the abstractions of the Samkhya like Ida, Pingala etc.
He avoids the use of merely mathematical symbolism - too abstract and intellectual.


The Negative Side - The Female Partridge
There are two sides to consciousness.
Without dividing it properly, our understanding will not come to us.
The negative side is the more difficult to know: the side of the Devi's "faded lotus feet" (of Narayana Guru) - "faded" means it is suffering.
The Devi is always crying at the corner of her eyes.

Put a circle around the feet and make it faded...a secret for meditation.

"Please see that I never turn away from your feet, because that last affiliation to the feet of the Goddess is the most important"

Someone is in charge of giving water to the buffaloes; when he embraces his wife, water comes, the Ganges flows and Sapharika fish jump in a flooding river.
A cool lotus-wafting breeze is another secret of cancellation:
you cannot live in twenty-four hours of heat; but you can live nicely in only twenty-three hours, with just one hour of cool at daybreak, like Bangalore.
On a hot day, people drink more tea to make them perspire:
Hot inside and hot outside cancel out.
The principle of the female partridge the sudden change from the knobs of the elephant to the denominator side. It falls instantly when it touches the horizontal line.

The negative side cannot be derived from the negative side - it must be derived from your consciousness; don't try to gradually build up the negative side from the bottom.
Place yourself inside the consciousness of a female bird or buffalo; then you will get a new perspective of cancellation.

Violation of method leads you nowhere: most of Tantra Shastra and Tripura Sundari is completely wrong, even contemptible to Vedanta.

Bending is the kindest act of the mother, so I don't feel guilty when I watch women feeding babies when I am travelling on railroad trains.
The proper perspective is "I am a baby in your stomach, and you are so kind to bend down to me with your milk".
This is proper Mother Worship. Not that of the Kaulins, Samayins and others.


This is the correct perspective. Don't think of it from the young girl's side - as, "you copulated with my father and you had me" - think of it from the baby's side.
The menses-cloth sky (as in Kalidasa), the bending and the lotus feet that are fading - Narayana Guru adds an even more negative touch - emotionally rich - a double negation.

Two lovers perspiring at six in the morning...mosquitoes dying on your forehead ... big breasts bending... (All the attitudes of the female partridge?)
Between perceptual and conceptual, there is a suddenness.
Having wild-doe eyes and belonging to a respectable family (Urvasi):
there is an enigma.
These are found in a fourteen year-old girl fed on ragi (sorghum), not in the overnourished daughters of respectable families.
Your eyes become bright by waiting and crying: too much kissing and food makes them dull.

Your poetry should be very simple - honey milk and grapes - not abstract, or children will not enjoy it. You must experience most directly.

The secret of good poetry known to Sankara is:
to make meaning (numerator)
and the meaning of meaning (denominator) blend:
this produces immortal poetry.
Sankara's descriptions and examples are so real that the lesson becomes indelibly imprinted on your consciousness.


An example of this is in the Raghuvamsa Dasaratha returning home is travelling from the O point to the Omega point - Ayodhya being the male's centre. The red light of sunset on the horizon and the menses cloth go together. She throws it out that way, which gives it double support: the sun hidden at sunset cannot be described more perfectly than this. This is a wonderful discovery. (See note on P37).

Prayer: a shower will happen when you pray, or, prayer will happen when it showers. The sun sets at six-fifteen, or, at six-fifteen the sun will set.
They are the same - two aspects of the same thing.


From Narayana Guru's prayer to Ardhanarisvara (the half-woman form of Shiva):
"Is this your sense of justice, when everything is burned up?(Shiva destroys the universe with his fire) Is this a foolish request? Absurd?"
In the Tirukural (Tamil scripture) there is the example of a faithful wife able to make rain come at her request.
The Gita says that there is a cycle in which the head end of a situation belongs to the tail end; the head and the tail end have a relation between them.
Steady State or Big Bang: which is correct? Both, in a certain kind of unified cosmology, which is known to Descartes and Bergson, as in "Durée et Simultanéité" where the spring of a watch unwinding slowly is vertical and the striking clock is horizontal.

You can understand the magenta colour if you can understand the international dateline - you lose a day...where did it go?

The main lesson is that there is a group of enigmatic references that belong to certain structural secret. To understand that, you must put a line - an equatorial line, to separate the Borealis from the Australis, the two tropics. One produces kangaroos, the other rabbits. There must be more negativity in the southern regions of the earth. English women in Australia get a face full of peculiar wrinkles not found in England - so there is something different about the Southern Hemisphere. There is a difference between the two-rupee Punjabi meal and the fifty-paisa Madrasi meal. North Indians are very proud, but Madras coolies eat only samba. They are brave in the two different ways. North Indians do not know the kind of pride of the South Indians, which is negative; north Indians think it is cowardice. The Tamils are saying: "Don't mix with us, we are three thousand years old, and we will secede if you North Indians don't cool yourselves a little.


The female partridge has two stratifications in its mind, from which it changes over from numerator enjoyment to denominator enjoyment.
Enjoying love becomes suffering in love when the girl changes her mind. When she is tired of the positive love affair, she wants the negative one: rest.
("...somebody you don't have to talk to...")
A love affair is always changing: you want it, then you don't want it.
(Kiss the boy...then slap the boy).

Enjoyment has two sides. After midnight you turn the other way in the bed
- copulate half the night, and then turn away to rest.
This is like the surfeit of sweetness of the female partridge.

If you do not know the law of alternation,
you do not know what morality is.
There is mechanism of alternation between morality and immorality.
To live in a fool's paradise of morality like Paramahansas and North Indian Yogis is absurd.
This is the figure eight.



"The quarters having their locks of hawk's wings rough and of grey colour, with their clothes of evening clouds, steeped in (wet with) blood, and therefore like women in their menses, with their grey locks of hair, and garments wet with blood, were not fit to be looked at".



1 -"The conscious person stands in the midst of matter (Pradhana), he is the enjoyer, for he enjoys the food of nature (Prakrti); even the elemental soul (Bhutatman) is food for him.

2 -"Even the elemental soul (Bhutatman) is food, for its maker is matter."

3 -"Therefore that which is to be enjoyed consists of three qualities (Gunas) and the enjoyer is the person who stands in the midst"

4 -"Here, observation is clearly proof"

5 -"Since animals spring from a source, therefore, what is to be enjoyed is the source.

6 -"Thereby is explained the fact that matter is to be enjoyed. Thereby it is explained - one is the corollary of the other. Therefore the person is the enjoyer and the nature is that which is to be enjoyed, being therein he enjoys"

7 -"The food derived from nature through the transformation of the partition of the three qualities becomes the subtle body (Linga) which includes from intellect up to the separate elements (Viseshsa), thereby our explanation is made of the fourteen-fold course called pleasure-pain and delusion (Moha): truly the whole world exists as food.
(Footnote "specific factors?)

Maitri Upanishad (6 - 10)
1 - "The conscious food for him"
"For him" means the person who is standing in the matter.
Bhutatman is his own food. That means he is eating his own denominator side: that is a strange idea. (A new-born baby is food - some cats come and eat them. The male cat comes and gobbles up the small kitten because it is food... "I am hungry and that is why I take the food" That is his argument - quite valid philosophy).
Not very is a very naughty thought, but I can't help saying it, with due apologies to all fathers who might have some kindness.

2 - even this elemental matter"
Its maker is matter - who is the maker of Bhutatman?
Bhutatma - "Bhuta" means elementals; denominator-side matter.
Matter becomes slightly conscious of itself and when it is endowed with a little consciousness, it is called the Self. The Self has got the "thinking substance"; some part of it is thinking and part of it is not thinking. And the greater part of it is not thinking; it is just sprouting like that with a vertical axis developing and still below the O point.
So, the maker is matter. The maker is matter, because it grew out of matter like that, slightly specialised. When it crosses the O Point and goes to the other side, you can say it is spirit. But it has not crossed the O Point; it is just coming out. There is no male or female or any thing; in it a baby is just a baby - a lump of flesh that is beginning to suck milk and smile at people. It doesn't know anything; it is just meditating... It is all steeped in a kind of sleep. Parents mess with it, ask it to smile..." I'm not able to smile; I am just in the vertical axis, just near the O point: When I cross the O point, I will tell you...Then I can laugh and be naughty...Before that, don't trouble me - I am sleeping..."

3 -"Therefore, that which is...stands in the midst"
"How is it that you get the three gunas?"
They belong to the side of nature; the justification is stated here.
Because somebody enjoys - the enjoyer is not there on the same side as the enjoyed. The enjoyer is the numerator side...something is being enjoyed: that is, matter comes and becomes specialised. The dahlia flower is very beautiful and is Sattva, full of light. The root.... is not Sattva
- it is underneath- there is nothing very specific or intelligent about it, it is instinctive. And the stalk is Rajas.
Supposing you divide it into two and there is something to be enjoyed... it is not the enjoyer. What is the distinction between them? You say there is a horizontal axis and that this side is different from that side...this is the enjoyer, this is the enjoyed; put a line between the two. Put the line between the bee and the flower and say: " The bee wants to suck the honey in the flower, so honey is the objective side and the bee is on the subjective side"
If you do not make this distinction, your philosophy goes formation...


Mesure mesurante and mesure mesurée - this is not distinguished sufficiently in philosophy... The Hindus say there is the enjoyer - the bee - and the enjoyed - the flower - and there is a line between them.
"We treat them all as stimulus-response. That's God. More instruments."
(Goes on for two pages on stimulus-response and pragmatism)
"If you ask too many questions, you will be given the brush-off, your overcoat will be handed to you and they will brush it...don't talk too much".

3 - "Therefore that which is to be enjoyed consists of three qualities"
So, that is a most important division; nobody can make that division.
The enjoyer- Bhogyavishva and Bhoktarupa.
In the Bhagavad Gita there is a special verse:
"Karya karana kartutva keturichyate prakriti sekudukana bhoktrtva keturichyate".
Bhoktrtva and Kartutva
Kartutva means "agent of action"
Bhoktrtva means beneficiary of action"
Do not mix them together and put them on the same side of a structural situation; then your arguments will not proceed one inch towards any profitable philosophy - (it) will not be constructed. This is called methodological rapport, a requirement that is known to Spinoza and Leibniz and Descartes. But they laugh at Descartes; even French people...they say his cogito ergo sum is all old-fashioned.
Old, old, old man Descartes; who cares for Descartes? But Descartes and these people had sound methodology, and they have lost the methodology now.

4 - "Here observation is clearly proof"
What do you mean by that?
Is that a posteriori or a priori?
(A full page on how Husserl does not like the word "a priori":
...objects to the dictionary...a prejudiced should say it has no meaning and give the argument...
But they do not want to be logical...they are not philosophers)


You conduct an experiment, you observe it, and you see -
that is called Pratyaksha Pramana, Anumana, etc.
How many Pramanas have you got?

"Pramana" means "mesure mesurante" - the measuring rod.
"Prameya" means "mesure mesurée" - that which is measured.
"Prama" means the meaning that you get by measuring - the result.

So there are technical words in the methodology of Vedanta, which have to be clearly defined.

Prameya is the cloth that is being measured
Pramana is the measuring standard
Prama is the certitude that you derive from measuring
All these are not clearly distinguished in Western Logic.

"Here" means "stands in the midst" It is a question of Gunas. That means that there is an experimental world; a world where experiments are valid...the domain of physical science.
But experiments are not valid in another domain, that of reason.
You cannot experiment with the saying "All men are mortal"

(Two pages on how the Singapore cultural attaché and the deans of colleges all over the world do not know that A=A does not require proof.)

"We do not believe in anything that cannot be demonstrated."

"Here observation…proof"
That means "a posteriori".
There are two kinds of proofs etc…
The most basic thing is reasoning.

"Since animals spring from a source, therefore what to be enjoyed is the source"
What is this kind of argument?
Source means Alpha Point.
"Source" is a kind of abstract way of saying that all that is on the ontological side belongs to the world of enjoyment.
Enjoyment means not numerator but denominator side.
Anything on the Denominator consists of elementals,
Some things that you can enjoy; you have to put yourself above them.
The enjoyer is above the enjoyed.
Why above? Why is it better?
That is a schematic language - try to say it better and you will not succeed.
Enjoyer, enjoyed, mesure mesurante and mesure mesurée, what is the relation between them?
Which is conceptual and which perceptual?

6 - "Thereby is explained that matter is to be enjoyed"
So, matter is what is to be enjoyed.
"Thereby it is explained" one is the corollary of the other.
Therefore the person is the enjoyer; nature is what is to be enjoyed.

"Being therein, he enjoys" - "being therein" means:
"suppose there is a table filled with good things and you are standing in
front of it and you are the enjoyer - all that is to be enjoyed and yourself are not the same".

So you have to completely divide spirit and matter: this is the magic of Vedanta Philosophy.
Nobody has divided spirit and matter properly. Here they divide it by a certain method.
Divide it by a line between enjoyer and enjoyed: here is the enjoyer, here is the enjoyed.

"Being therein" means because he stands in a vertical axis above the O point, because his position as an enjoyer is above on the numerator side, he is called the enjoyer - he enjoys...
Who enjoys? The spirit enjoys, matter does not enjoy.
If the division is made properly your philosophy will go on,
on proper methodological and axiological and philosophical lines.
Without methodology, how can you say these things correctly?


7 - "The food derived from nature through the transformation of the partition of the three quarters becomes the subtle body (linga) which includes from intellect up to the separate elements ("specific factors") - Visesha. Thereby an explanation is made of the fourteen-fold course called pleasure-pain and delusion (Moha); truly this whole world exists as food".
The whole world exists as food and has three divisions:
"The whole world" means the denominator side, the existential side.
And what is the subsistential side? That is yourself. If you are standing in a garden and you are enjoying Dahlia flowers.
All this is for you to enjoy and don't mix it up with the enjoyer...put yourself in a proper relationship with it, the enjoyed. There are three Gunas there...the root aspect, the middle aspect and the flower aspect. All right, there are three grades. But still it is on the Denominator side, don't get mixed up...otherwise your epistemology, methodology and axiology will go wrong. You cannot say anything...

( a running translation of the flip-side of the previous tape - recorded either the day before or the day after, and covering some of the same material)

"After saying something about leavings and what has been touched by leavings, what has been given by a bad man, or what is impure because of still-birth, let the cleansing power of Vayu, Agni and the rays of Savitri purify my food and any other thing that may be evil."
So that means putting a line between pure and impure.
This thin line does not mean duality - it is there for exact reasons, put there so you can cancel it correctly. You have to put the line between four and four before you can cancel: afterwards you can cancel it.
Advaita does not say that everything can be cancelled with no method - it is giving you a sample of its method.
Food: do not mix it up with dirty food from the WC or anything: there is an arrow passing through your stomach from one side to the other - digestion
- don't mix it up.


If you put it all together, your stomach gets confused. So keep these things clean...a woman's menses cloth must be dealt with cleanly. Put things in their proper places...He is not orthodox here - He just says you can't put the bedpan on the drawing-room table.
There are some good things in the Vedas - they teach you not to spit.
Regulate things in a structural order: that is all he says.

"So, having made the sacrifice to the soul, he should meditate on the soul with the two formulae: as breath and fire and "Thou art all".
Fire is below and breath is above as a function. "Thou art all" -
put everything in its proper place; bathroom things in the bathroom, etc.
If you don't care, you will lose your appetite...
"As breath and fire the highest soul (atman) has entered in with the five winds.
May he himself, when pleased himself please all - the all-enjoyer."
So he is the all-enjoyer inside you; the Self, Atman.
Give him things slowly and in the proper order. (After sipping water...)

"Thou art all, the universal art thou ; by thee is everything that is born supported and into thee let all oblations enter. There creatures live where thou art, all immortal."
So there is a denominator immortal something into which you put Agni in the Agnihotra.

"He who eats by this rule indeed does not come again into the condition of food." 7 - "that is he is not reborn and is not eaten by others" (a good footnote by Hume)
Food is horizontal in its essence, if he eats like this, the food will be cancelled by its Denominator and there won't be this horizontal will all be absorbed into itself, etc. (for itself, of itself et) and will be verticalized.
Take food and become immortal by treating it as a vertical counterpart of your hunger. "Thou art all" is food. And "fire and breath" is here and you put food into the fire and digest it with the breath, and finally only the vertical axis remains, and that is food - this means you will not be reborn.


Rebirth cannot take place unless there is horizontalism...
horizontalism is called rebirth, and if you have abolished horizontalism, can you be reborn?...
In the Mathematical world?...A=A is not reborn, it is the same in Russia or anywhere and after ten or a hundred years it will still be the same.
Mathematics is always the same, it is immortal... 2+2 = 4 is an immortal statement
"always there..." a conceptual truth.
Perceptual truth is mortal - a burning candle can be put out.
If you say: "the candle in the mind is cancelled by a candle on the denominator side" - that is immortal, because nothing happens to it.

There are four candles:
1 - a candle that burns
2 - a candle that you see in the mirror and does not burn when you touch it
3 - a candle that is a candle just by name
4 - a candle that is just the picture of a candle, an image.

The candle in the mirror is almost the same as the actual candle...
but only the concrete horizontal candle burns you.
The frame of reference is implied in the theory of complex numbers...
numbers represent something...abstract it further and you get complex numbers...
A vertical axis and the square root of minus one and so on...further and further and you get I, J and K
"I" is an imaginary number, only "J" and "K" are other numbers...
if they can have a frame of reference, why not the Saundarya Lahari as well?

"So he who...the condition of food"
He will not come again -"the condition of food means a horizontal status:
but you can give it a vertical status by eating it properly...
say it is offered into the fire of your soul, or something.


Applications of the Principle of Food According to the Samkhya Doctrine

"Now there is something else to be noted. There is a higher development of Atman Sacrifice, namely as concerns food and the eater.
The further explanation of this is as follows:

"The conscious person...(prakrti)"(1)
The word Pradhana (matter) may not be used here exactly as in Samkhya Karika. (this wants a thesis by advanced students )

"Even this.... for him " (1)
"For him" means the man who stands amidst can you stand amidst matter?

" the midst" (3)
Make a man stand in the middle as a vertical enjoyer and put enjoyable things all around...the vertical axis and the horizontal circle. Then you can deal with them in an intelligent way...

"Here observation is clearly proof" (4)
A posteriori, by inference.

"Since animals the source" (5)

"Thereby he enjoys" (6)
An animal, a goat, is eaten by Vedic springs from a source.
A kid is born from its mother in Nature, not from heaven.
You are enjoying, standing in the midst of enjoyable things;
And the source is here...Nature is horizontal, the enjoyer is the vertical axis
- whether he is the bottom or top, he is the enjoyer and matter is what is being enjoyed.

"The food derived ... exists as food" (6)
Think of food in the abstract, and look at the whole world -
Food has been modified at three levels: just brute matter and specified matter.

A flower...or a crystal is very specified and that can be called Sattvik.
Something else is very active and full of life and that is called Rajasik.
Something else again is very lazy and that can be called Tamasik.
These are three levels of manifestation of food and life vitality.

"There is no apprehension of the sweetness of this soul, so long as there has been no production"
That means, if matter has not been produced...if you do not begin to speculate with matter, how can you think of the sweetness or value of it?
Matter must have a value; when it comes this side it has a value;
when it is here it is just matter....


And you should give it a value...and it must have a source...
think of sugar cane with the source in the ground and sweetness on the tongue, which you enjoy - that is value.

"Nature also comes to have the condition of food in these three conditions: childhood, youth and old age."

"Nature" means the bottom of the vertical axis, used in a very comprehensive sense.

Rousseau in Emile says:
"By Nature, I mean habit, anything habitual belongs to Nature - do not misunderstand"
He gives a definition.
Here "Nature" means the negative side of the total situation,
That is all childhood is - you are food, the body of a child is a kind of food;
Youth, young food; old age, old food.

"The condition of food is because of transformation"
Why do you call it food?
Because of transformation, if it were spirit it would not have changed:
it is not spirit...childhood, youth and old age are a kind of change (transformation).
It is not spirit, so it is Nature.

"Thus matter passes on to the state of being manifest and there arises the perception of it, and therein, namely in the tasting of sweetness,
there arise intellect and the like, even determination, conception and self-conceit."

Determination = Buddhi
Conception = Citta
Self-Conceit = Ahamkara
Egoism - the sense of personal individuality becomes lost.

So something is sweet - to whom? - to your consciousness, not to everybody
- it is inside you. So from that place the thing that was outside you
as an objective thing enters into your consciousness.
Otherwise, mark that is sweetness that makes the participation of matter and mind.
Where do matter and mind participate?
When you put sugar into your mouth and you say it is sweet and you like it, then your consciousness has entered into the sweetness and the sweetness has entered into your consciousness.
Otherwise there is no participation if you put sugar in a jar and look at it.
You do not enjoy the sweetness.
How did intellect arise?
Did it arise from matter - our body is matter, how did it come to intelligence?
By chemistry? No, that is not acceptable, by what?


Didn't you see when you put the sugar in your mouth, your consciousness participated with the sugar and the sugar participated with your consciousness and made you feel happy?
So that is the beginning of psychology and chemistry joining together.
Buddhi, Citta, Ahamkara - these things are here above the O point
- up to the O point it is sweetness, then Buddhi, Citta and Ahamkara.
(The famous dentist story is given - but not clearly told).
A man faints at the dentist and then wakes:
Manas: "Who is this man standing over me with a cup of coffee?"
Buddhi: "Oh, yes, I am in the dentist's chair; I see, I fainted"
Citta (relational mind): "I have related myself to that man: he is a dentist and I am the Gurukula Head, he must have gone to a lot of trouble"
Ahamkara: "There's my purse on the chair, I am an important man so I will pay five rupees instead of three rupees. My status in society has come into mind, the ego is complete: by the relation to the money, the personality is complete; walking in Ooty, paying your bill.

"So in respect to the objects of sense, the five organs of sense, arise the tasting of sweetness; thus arise all actions of organs and all actions of the senses"

Jñana Indriya: eye, touch, ear etc.
Karma Indriya: Vak, Pani, Pada, Payu, and Upasta.
Ten senses are found in Vedantic literature:

First they put:
Vak: supposing you want to embrace a girl, first you say: "Come here!"
Pani: then you put your hands around the girl.
Pada: the thighs are working, because you are copulating.
Payu: the sex organs or anus or something, I don't know which is which exactly.
Upasta: the basic tail end part, the Denominator part.
So that is how they arrange the Karma Indriyas.

In America, Karma means "Hey Pete, hand me the spanner".
Bloomfield says all language begins in the workshop.
But ancient Vedantins say: "Think of your action on a girl"
And that is the most fundamental thing...put that as a human model.


Bergson also says that it is action that makes another person appear before you - otherwise it would be horizontal. A cow sees another cow grazing - because it wants to copulate with it, not because it wants to talk philosophy. ...

The Inner Organ
Jñana Indriya
Inner Organ or the Agent of Inner Functioning.
In Sanskrit: Anta Karana.
Anta = inner
Karana = organ
Also something called the "Inner Voice", something subtle
then just the mind.
It is made up of the Trikaranas (Buddhi, Citta, Ahamkara) treated as one functional agent.
Buddhi is the discriminatory function: Samkalpa -Vikalpa
Atmaka, where Atmaka means, "having as its function".
Samkalpa: "I have taken the right decision"
Vikalpa : "I have not taken any decision

Citta: relational mind: "I am head of a Gurukula"
Ahamkara: ego sense: "I am an important man and should pay the dentist five rupees instead of three" - the personality is complete.


Answer for a nine year-old boy.

"What is a Gooroo?"
Somebody you would like to imitate in his ideas and his ways, who is interesting and inspiring.
"What do you and he do?"
We emulate each other.




Tam evas sayo.... Atma, Brahma, the Absolute.
Amrta = value
Brahma - here, there, whatever value you name - bring it to the vertical.

It goes from the earth Alpha point to the Atma Omega point.

Earth -
Water - semen
Fire - word
Wind - breath

Sun - eye
Quarters (conceptual) - ear, echo
Moon - mind
Lightning - heat

Thunder - sound and tone.
Space -
Law - virtuousness

Atman - (Kutastha)








structure - slc9 - p77e


1 - Earth in the earth - in the body
2 - Waters in these waters made of semen
3 - Fire in this fire made of speech
4 - Wind in this wind who is breath
5 - Sun in this sun in the eye
6 - Quarters of heaven in these quarters in the ear in the echo
7 - moon in this moon consisting of mind
8 - lightning in this lightning exists as heat
9 - Thunder in thunder in sound and tone
10 - Space in this space in the space in the heart
11 - Law (Dharma) in this law which exists as virtuousness
12 - Truth in this truth exists as truthfulness
13 - Mankind (Manusa) in this mankind which exists as a human being.
14 - Soul (Atman) in this soul which exists as soul
15 - Verily, this soul is the overlord of all things, the king of
all things. As all the spokes are held together in the hub
and felly of a wheel.


From Printed article in "Values" magazine.
"Intimate meditations". (Partly written by the Guru himself - not student notes. Some passages are additions dictated by the Guru. ED)
(Starts in middle of page)

P1 to P97 - VERSE 1 to VERSE 15

P1- Verse 1

P10- Verse 2

P18- Verse 3

P21- Verse 4

P25- Verse 5

P28- Verse 6

P30- Verse 7

P34- Verse 10, 11

P35- Verse 8

P47- Verses 2-10

P49- Verse 9

P56- Verses 10 and 11

P59- Verse 10

P61- Verse 11

P63- Verse 12

P64- Verse 11 and 12

P67- Verse 11 and 7

P68- Verse 10 and 11

P71- Verse 12

P78- Verse13

P82- Verse 14

P92- Verse 15

SLG1 - P1


Their paintings, some of which I also saw, were of a non-
representational kind where the human form, when faintly
present, blended with geometric patterns and cancelled out with
them in glorious symmetrical designs of colour and form.
I at once thought of the possibilities of a colour language to serve
as a "Lingua Mystica" proto-linguistically, to explain the verses
of the Saundarya Lahari (the Upsurging Billow of Beauty) of
Sankaracharya, whose cryptic verses had recently intrigued me
highly and lured me towards attempting a structural analysis of
this much misunderstood yet truly Vedantic text, hitherto lost to
the pseudo-scientific esoterics of Tantrism and the Shakti cult of
post-Buddhist decadent India.

Further scrutiny of about forty verses with comparative study of
interpretations by scholars, including the verse translation of
the same by the famous Kumaran Asan, has convinced me that all of
them have fallen short of a truly critical estimate of this
masterpiece. Sankara himself must have thought in terms of a
structuralism then understood, belonging to the Tantra and shaktya
background, whose remnants still persist as remains of past
culture both in Kerala as well as in Bengal at the present day.
This stratum with its precious esoterics has been more or less
overcovered by other debris accumulated and deposited in other
parts of India, where the chequered rule of emperors and kings or
chieftains, with greater or lesser Muslim permeation, has
succeeded in covering up even the outcrops of this stratum.

SLG1 - P2

The Tantra school has its proto-linguistic traditions. The Mother
Goddess is also a favourite in the esoterics of Yoga. Thus we
touch here a rich deposit of ancient wisdom of rare beauty and
quality. Proto-linguistic speculation excels itself here.
Having thus struck upon a rich vein of treasure trove, I have been
directing my interest in scrutinising and analysing some of the
verses structurally. Even the title has been intriguing and
elusive enough to attract my interest. The word "Saundarya-
Lahari" which is the title of these hundred verses in classical
Sanskrit, suggests both the intoxication arising from beauty as
well as a general overwhelming upsurge of the aesthetic sense in
the contemplation of the Absolute Self. This aesthetic
sense, arising out of the Supreme Bliss-Value, is of the essence of
the emotional content of the Absolute. Ethics, aesthetics and
penetrating metaphysical analysis meet here in the upsurging of
the sense of beauty within the contemplative as understood
by Sankara.

In this composition Sankara proves to be fully absolved from the
possible charge as a dry-as -dust philosopher, with which
appellation he is associated in the popular mind because of the
exegetics and logistics in which he indulges in most of his

Although Shakti - Tantrism is the evidently assumed background of
the composition before us, there is unmistakable internal evidence
to suggest that Sankara, the well-known Advaitin, is its author.
His seal can be discovered as imprinted on every verse by the
clear absolutism revealed and by the classical finish of the
verses, as inimitable as in the case of Kalidasa. In order to give
the reader just a foretaste of the delicacies and delights of
this composition from a master philosopher and dialectician, we
translate here the first verse of this series.

If Shiva should, only when united with Shakti,
Get the power to manifest in becoming;
If again, without such, he has no ability even to pulsate,
How then could one of unaccomplished merits
Have the privilege of bowing to or even to praise
One such as You, adored even by Hari, Hara, Virincha and others.

SLG1 - P3

Here we have more than one rhetorical question by which Sankara
fulfils the conventional requirement of adoration of a deity.
As an Advaita Vedantin, his praise has necessarily to refer to no
other high value than the Absolute. The Upanishadic way does not
give primacy to ritualistic or meritorious works for
emancipation. The structural and literary requirements of the
Vedic context are however retained for linguistic purposes
here, as useful for a negative way by default rather than by open
obligation for direct worship or praise of a single goddess or

The goddess here belongs to the context of Brahman
(the Absolute). This and every other verse of the series, approaches
the advaita by the negative way of omission rather than
recommending adoration of Parvati or Shakti as the followers of
the Tantra school, more properly so called, might do. The Tantra
background, however, is seen here to be taken advantage of and
adapted to serve the requirements of the highly suggestive and
structural language proper to the "Lingua Mystica" of Vedanta.

In the last line, reference is made to the triple gods
Vishnu, Shiva and Brahma who have the functions of
preservation, destruction and creation respectively in the
theological and mythological context of Hinduism. He implies here
that as a devotee in praising the Goddess as the negative
absolute factor coupled with Shiva (who is positive as
counterpart of the negative feminine principle) he is not on the
same footing as the Vedic gods who belong to the context of only
relativistic and meritorious Vedic ritualism.
The schematic analysis of the diagram below will reveal some of
the structural implications applicable to the aesthetic value of
the Absolute when viewed from a negative rather than from a fully
positive perspective.

SLG1 - P4


Note here that it is the totality that is indirectly adored or
praised. The question of merit does not even arise when the total
Absolute Value is intended here. The manifesting function is
that of the horizontal negative and the pure Absolute itself is
beyond action as it is comprised within pure verticalized
positivity. There is thus only indirect praise of the Absolute
initially at the start of the work, from a negative viewpoint.

SLG1 - P5

(Now follow 5 pages of manuscript)

Word-for-word translation of in the Guru's handwriting.


Shivah = Shiva (numerator factor).
Shaktya = with Shakti - the phenomenal factor in the centre of the Absolute.
Yukto-yadi = when united, unified (i.e. when participating
vertically and horizontally with each other).
Bhavati Shaktah = becomes able (Shiva).
Prabhavitum = to realise himself, become fully himself, attain full plenitude.
Nachedevam devah = if likewise this god.
Nakhalu kushalah = is not capable indeed
Spanditumapi = even to oscillate like a straw (?) to or (illegible)
Atah stvam = thus to or for you.
Aradhyam = worthy of worship
Harihara virinchadhibhir api = (illegible)
Prananthum = to adore
Stothum va katham = even to praise, how.
Akritapunya = one who has no merits of good acts.
Prabhavati = become specified.

SLG1 - P6


SLG1 - P7

Saundarya means "value", and the highest abstract value is beauty.
Sankara underfocuses on the negative side or the side of Maya.
He talks about beauty, and through Axiology, Methodology and
Epistemology arrives at a description of the Absolute Upsurge of beauty.
Sankara first shows the map with all the gods etc., then wraps
it up by showing the dynamism of the circulation between the
parts. If he uses mythological language, it was only to build up a
structure, the understanding of which reveals the Absolute.
"Do not say that I have believed in all these gods - I have used them
only to praise the Absolute (via ideograms)."
Reciprocity, compensation and cancellability are all operative here.

SLG1 - P8


The god Shiva (as great numerator factor) and Shakti
(horizontalising principle on the negative side)
When united only (or unified) -
(when participating vertically and horizontally with each other).
(Shiva, he) becomes able - (at best participating nominally).
(only when he participates does he become able)
To realise himself (in any specified way), (to become fully himself)
(attaining all plenitude), (only when he participates does he keep from evaporating), (will only be an absurd mathematical figurehead).
If likewise this god is not capable indeed (wave length means horizontal movement).
Even to oscillate (like a straw)- as opposed to vertical movement.
Thus how can for You (devi).
Worthy of worship (by).
Even by Vishnu, Shiva and Brahma (representing the three relativistic functions: preserver, destroyer and creator), but only as demiurges of a base order.
You are not only on the negative side of the vertical axis, but You also touch the finger of Shiva, thus representing the Absolute - and thus being worthy of worship by the three demiurges.

SLG1 - P9


Either to praise or worship You (how?).
One who has no merits of good acts - (I am not a Brahmin or a
learned man), (how can I ever attain to the Absolute beyond all words?).
How can I become a specified personality? -
(Either I must fill it with the content of beauty, via protolanguage).
I am not a priest (Brahmin) who performs meritorious deeds.
How can I praise You? (Vedanta is not just giving alms and going to temples).
I will have to put You into relationship with Shiva, the
Logos or Omega Point. If You are not touching Your husband
(participating vertically) he is just a theoretical, mathematical Omega point.


SLG1 - P10


Thaniyamsum pamsum thava charana pankeruha bhavam
Virinchih sanchinvan virachayati lokan avikalam
Vahatyenam saurih kathamapi sahasrena sirasam
Harah samkshudyainam bhajati bhasito dhulana vidhim

The fine dust arising out of your lotus feet
The creator (Brahma) gathering up the worlds ordains
The preserver (Vishnu) bears them up somehow by his thousand heads,
And the destroyer (Shiva) having shaken up, accomplishes his ash-wearing rite.

The Goddess here represents the Absolute viewed schematically
under a slight negative perspective. On the vertical parameter
thus revealed at its lower Alpha Point, is to be located, as it
were, at the feet of the Goddess, the creative function of which as
is well known Hindu mythology, the god Brahma seated on a lotus
and with faces representing the four aspects of space, is the
operative principle. All existence is brought into being and
subjected to becoming by the function of Brahma, the creator.
Higher up in the vertical parameter of reference, we have to
locate the sustaining or preserving function which Hindu
mythology attributes to Vishnu. His function is at the meeting
point of the horizontal and vertical structural correlates
representing the noumenal and phenomenal aspects of the Absolute
both as being and becoming at the same time, taking speculation
beyond paradox so as to make it attain the Absolute. The
principle of occasionalism involved herein justifies the use of
the expression "somehow" in the third line of the verse. Vishnu's
function has to be pluralistic as represented by the suggestion
of the thousand heads of the snake on which he reposes in the
eternal present of contemplative sleep.

In Shiva we attain the top conceptual or nominal limit of the
total situation here schematically analysed. Existence here gives
place to thin logical or rational subsistence, merging into the
value world of pure axiological status. Shiva the destroyer is
thus the Omega Point where actualities evaporate into thin
mathematical nothingness of nominalistic though pure Absolute
Value. The thin dust of the feet is subjected to further
refinement as suggested in the last line here, so that it becomes

SLG1 - P10

the ritual ornament smeared lightly on the radiant body of Shiva.
Thus existence, subsistence and value with pluralistic, horizontal
reference are all capable of structural recognition in this verse.
(The schema of the previous verse can be used for this verse also.)

(Printed article ends. Manuscript follows, in various hands. ED).



SLG1 - P12

Now follows word-for-word of VERSE 2 in the Guru's hand .


Thaniyamsum pamsum = extremely fine dust.
Ta va charana pankeruha bhavam - Virinchih = arising out of thy lotus feet, Brahma.
Sanchinvan virachayati lokan = makes the worlds.
Avikalam vahati = bears up each from each distinctly
Enam = this (worlds)
Saurih kathamapi = Vishnu somehow.
Sahasrena sirasam = with even his thousand heads.
Harah samkshudya = Rudra having shaken it up, beaten it up as for an omelette.
Enam = this.
Bhajati = serves with it, accomplishes as benefit out of it.
Bhasito dhulana vidhim = the ash-smearing rite.

SLG1 - P13


The Absolute hides a paradox, if you do not resolve the
paradox, there is no salvation.
Only downright Vedanta can resolve it. First, state the paradox
as clearly as possible:
Absolute negativity is the Goddess (horizontality),
the absolute vertical positive is Shiva.
Without the numerator Omega Point, the paradox cannot be resolved
and yet, Shiva is powerless without Shakti.
Shiva destroys the three cities, i.e. cancels them out.
Shakti attains to Shiva by being loyal to him.
The relationship between Shiva and Shakti is reciprocal, compensatory and cancellable.
They are put together in such a way that paradox is presented.
Where paradox is resolved, the Absolute is revealed.
A Brahmin goes to heaven and enjoys a vacation, but then comes back to earth: this is Vedic.
Vedanta involves a Sannyasin with a begging bowl. (A camel cannot pass through the eye of a needle…)
The first verse has set the paradox and the frame.
The three functions are brought together and then abolished.

SLG1 - P14


Extremely fine dust (pollen)
(arising) (taken by Brahma)
From thy feet (from the lotus of the feet - pollen dust)
Gathering together by Brahma
He creates the (three) worlds
(Brahma creates the many worlds of values, each distinct from the others)
Bears up each from each distinct
(Each has its own vertical axis - impenetrability)
This (some world which is manifested)
He supports with thousand heads (Vishnu)
All these dust-produced worlds
Shiva comes and, having beaten them all together
Accomplishes (serves)the benefit of it (destroys it, and puts the
ashes on his head), (without the destruction, cancelling...(?))
Wearing the ashes (ritual)


SLG1 - P15


Christianity - " As it was in the beginning, is now etc...."
They cannot cheat humanity all of the time.
Where is your God that you ask me to worship, where is the description of your God?
What about Copernicus, and Bruno and Galileo?
Jehovah sent a column of light so that Moses could see from earth to heaven.
What did you see? Did you see God? Oh no, you cannot see God
What about the Sistine Chapel? Oh that is just a joke of the Pope´s.

Three gods came in to fill the Absolute, which was empty.
What is the best thing with which to fill it? Absolute Beauty.
The voice that spoke to Moses was empty. What did it mean to the shepherds?
The whole of the Bible is trying to give some content to this voice.
God - "maker of heaven and earth", "as it was in the beginning..." etc.
What is it that is true? They do not tell you.
Please, Bible, tell me something about this God whom I want to worship.
The Book of Job indicates that God is a bad schoolmaster who will not answer questions.
The most difficult gap in the Bible to fill up is the content of God from the earth up.
Is there no cosmology about this God? Will you tell me about God?

SLG1 - P16

Sankara gives us the whole phenomenal side, which is our side.
He presents the whole picture in terms of left-hand spirals becoming right-hand spirals and on into infinity.
This is the paradox of the phenomenal universe.
If the non-Europeans had had guns early enough, the Bible would have been thrown away -
NO aborigines would have been converted.
Verse 2 consists of three gods, with three functions -
Numerator, Denominator and Middle.
Everything in the world has three stages - birth, life and death.
These are the functions of creation, preservation and dissolution.
Mythology is a growth determined by geography and culture.
Narayana Guru decided not to use mythology, but definitions drawn from everyday examples, to describe the Absolute.
When mythology is used, he refers to all mythology.

"Philosophy is that intelligence by which the landlady can tell if the tenant will pay the rent", B.Russell.

An example is NOT a starting postulate.
You must use either deductive or inductive reasoning.
How to justify Verse 2 within the context of the Absolute?
Brahma comes, takes fine dust from the feet of the Devi and creates three vertical worlds, till it becomes the firm earth that we know.

SLG1 - P16

Begin from the "monde affiné" : .00001, the square root-of-minus-one
etc = the pollen powder used by Brahma to create the universe.
Then comes Vishnu with a 1000 heads - a pluralistic pragmatist.
Vishnu sleeps on a coiled snake, floating on a milk lake.

SLG1 - P17

Vaishnavas (Vishnu-worshippers) give Brahma a secondary status next to Vishnu.
Vishnu represents value-worlds so comfortable that he does not have to work.
From his navel comes a lotus in which is sitting Brahma
Why? Because all gods represent the Absolute.
Then we need the concept of destruction, since no man believes he will die.
Shiva appears in two aspects - operative as a demiurge and also as the mathematical Absolute, a pure concept.
The functioning Shiva as a demiurge is included in the Omega point concept.
These three gods are included in a circle.
Brahma creates, Vishnu sustains, and Shiva destroys:
These are personifications of natural laws that we can see.
Shiva pulverises the whole thing, and then puts the ashes on his forehead
and says: "I am proud to have destroyed."
Why? Because there can be no creation without destruction.


SLG1 - P18

Avidyanam antasti mira mihira dvipanagari
Jadanam chaitanya sthabaka makaranda sruti jhari
Daridranam chintamani gunanika janma jaladhau
Nimaghnanam damshtra muraripu varahasya bhavati.


To the uninstructed you are the light-maker,
inner darkness banishing, mid-ocean placed;
To inert ones, the ooze of sweetness within blossoms celestial,
having mind-expanding effect,
While for indigent spirits you become a brood of philosophers' stones,
And for those submerged in birth-cycle ocean the very tusks of that anti-Mura (Vishnu's) boar.


Four types of votaries are envisaged here with their
corresponding value counterparts. Put together they cancel out as
numerator and denominator of equal function, into the unitive
value represented by the Absolute Mother, apostrophised in this
century of verse.

The content and context of such a negative version of the Absolute are indicated in the first and second verses of this series. Now the axiological counterpart of utility or value for four grades falling within a vertical parameter are indicated in a downward serial gradation of compensatory items meant as the consolation of the contemplation of such an Absolute Value here called the Mother. The structural analysis below will clarify its implications further.


Explanation of STRUCTURE SLG1 - P19 - V3

Each man represents in himself an aspiration vaguely felt as an
intentional factor of interest.

1 The ignoramus aspires for some light with the Absolute as its source.

2 The indigent or poor man sees it negatively as a treasure of gems which would abolish his
poverty and console him too as a high human value.

3 The pleasure-loving man of inert ways seeks something sweet to drink like the
honey at the core of a flower.

4 The man steeped in imperative or absolute necessity in a very actual or real sense has to have
something like the tusk of a Vishnu's boar to hold him up and prevent him from sinking deeper into the sea of needs that might make him despair.

Conditioned by subjective states, each sees only one aspect of the Absolute.

In this figure (STRUCTURE SLG -P19-V3)
please note the four-fold context of the structure of the Absolute as well as the double force acting on each interest, with equilibrium resulting in the consolation the Wisdom Mother represents.

(Pages 19 and 20 omitted intentionally)


SLG1 - P21

Tvadanya panibhyam abhaya varado daivatagnanah
Tvam eka naivasi prakatita varabhityabhinaya
Bhayatiratum datum phalamapi cha vanchasamadhikam
Saranye lokanam tava hi charanavaiva nipunau


Other arms than thine, O sole refuge of the worlds of beings, can confer
Protection or boon; You alone are unique in not thus acting out
Overtly, by gesture, the promise of refuge or boon; what is more,
Your feet are alone expert, indeed, in yielding more than asked for boon.


The Advaita Vedanta of Sankara is based on the method of reasoning where one travels from effects which are pluralistic and positive, to a common subjective cause in terms of one's own
Theologically understood, the divinities in any religion, Greek or Hindu, are recognised by their functional or operational overt positive values, which have hedonistic, pluralistic
or essentially hypostatic significance and positively or negatively enter as protection or benefits of worship, devotion or contemplation.
One is granted what one prays for.

As the Absolute Value comprehends all varied flavours or essences conceptually understood through various scriptures of the world, and inclusively covers them all, it is but right to
think of it as the seed at the bottom of a vertical parameter of reference where ontological richness prevails to a maximum degree of intensity at the core of a really experienced sub-consciousness
which is not merely verbose predicative representation.

The elimination of positive effects by way of giving primacy to cause is the negative way of arriving at or attaining the Absolute, which could otherwise be empty of all real content.

The universal concrete attains reality in the most scientific form where the duality of physics is effaced and its paradox vanishes, melted or absorbed into the totality of the homogeneous matrix of the Absolute.
The present series of verses presupposes a slightly negatively tilted perspective as is proper to Vedantic methodology.

SLG1 - P22


Those terms or expressions in the verse such as "other arms", "sole refuge", "worlds of all beings" are meant to underline the contrast between the relative and the absolute and combine such
opposites as boons and protection from fear.

The words "alone", "unique" and "overt" have also to be noted. Absolute generosity is
reflected in the words "more than asked for boon".

The ambivalence or dichotomous implications based on antinomian principles, the ramified sets and double assertion are to be recognised in the pluralistic gods under reference and in "what is more", respectively.
Metalinguistic poetry tallies here with protolinguistic structural imagery.


SLG1 - P23


Theological divinities are many. They can protect votaries and confer boons in various pluralistic, relativistic or hedonistic contexts known to non-Vedantic or dualistic scripture.

This involves representing the non-dual Absolute Value that has rich ontological value but only negligible teleological or hypostatic significance in Vedanta.

While the range of the ramified sets of gods or demigods, which are numerous, can grant hedonistic, relativistic or pluralistic benefits or securities, at the bottom of the vertical parameter of all values, rich ontology of real or universally concrete values comprise and comprehend all the
miscellaneous and conceptual values of the hypostatic or axiological intentionalities and expectations.

It is at the existent level that all essences merge into a unique value-factor.

As in the case of atomic structure, the neutrino or neutron is richer in negative content than the electron particle.
Indigence prevails on the plus side. Innate subjectivism is more important than analytic or positive objectivism.

(Now we ignore P24 - irrelevant material)


SLG1 - P25


Haristvam aradhya pranata jana saubhagya jananim
Pura nari bhutva puraripum api kshobha manayat
Smaropi tvam natva rati nayanalehyena vapusha
Muninam apyantah prabhavati hi mohaya mahatam.


Hari = Vishnu
Tvam aradya = having adored You
Pranata jana saubhagya jananim = who confers goodness
On worshippers
Pura nari bhutva = once having become a woman
Puraripum api = even that burner of the city (Shiva).
Kshobham anayat = led to agitation
Smaropi = even Eros
Tvam natva = having bowed to You.
Ratinaya lehyena vapusha = with body licked into being by the eye
of Rati (wife of Eros)
Muninam api antah = even within recluses
Prabhavati hi = becomes able to accomplish indeed
Mohaya = to make for confusion of values
Mahatam = to great ones


Once Vishnu having adored You, the bestower of blessings on those who worship You
Taking womanly form, even unto the City-Burner (Shiva) caused agitation
Eros himself with body licked into reality by the glances of Rati, his wife
Even to the minds of great recluses confusion of values brings


When Vishnu as representing the Absolute Reality confers Its stamp of reality on the negativity of the pure Absolute Becoming that constitutes eternal essential existence, he may be said to take himself a female form because femininity has to be negative.

The legendary myth in which Vishnu took such a charming womanly form to confuse even Shiva, reputed to be beyond temptation, supports this.
This Absolute Beauty as a value in women or rather womanhood, sub specie aeternitatis, can be a rival factor to the divinity called Shiva as a member of the trinity of godheads of the theological
pantheon of divinities as Isvaras or Demiurges.

The myth is justified only when Shiva is given a lower status in the context of the full Absolute, which is neutral and impersonal.
In the second half of the verse the reference is to Eros as the personification of earthly love.

He himself is "Ananga", (without limbs).
The actuality of having limbs in appearance is due to the reflected light coming from the eyes of the horizontal negative counterpart of the pure erotic principle as such.

As in modern laser technique, two lights, one reflected and virtual and the other direct, when holographically intensified have to meet to result in the real value of Beauty represented here by the Goddess.

Horizontally reflected lights complement each other at this level. When a pure universally concrete reality representing the absolute beauty of the Goddess thus becomes manifest, it is
suggested, at the end of this verse, that such a beauty will attract even recluses who have won full control over everyday sensuous attractions.

A structural analysis will help to reveal the fourfold factors involved here.

SLG1 - P26



There are two sets of double corrections to be thought of in terms of normalisation and re-normalisation here.

Beauty as an Absolute Value is the central theme. This beauty could be viewed from two perspectives, which are complementary or reciprocal
counterparts, compensatory and cancellable into the final unity of the value represented by the Absolute as Beauty here.

Vertically, Shiva, as the Burner of the City is the positive counterpart of Vishnu as the normalising factor.

Horizontally the virtuality of Eros has its counterpart in the actualising light of his wife Rati.

There are groups of contemplatives of different sets and sub-sets all around the central value, who benefit spiritually or in actual terms from a contemplation of the Absolute. Shiva as an extremely uncompromising radical and positive principle must have the renormalising factor as its central counterpart which acts as a descending factor or function vis-a-vis this thin mathematical parameter at the Omega Point of the Absolute.

A beautiful damsel in a worldly sense can participate in the Absolute and have a stunning effect on a recluse, even of the status of a Shiva.

Vishnu, as a neutrally placed normalising influence, could be a simple damsel with stunning beauty or viewed theologically as the cosmic principle of preservation.

The circling set of recluses are all aspirants who practice contemplation of various types
that can be fitted into the scheme in endless gradations or variety of sets and sub-set ensembles. The attached structure will help.


SLG1 - P28

Dhanuh paushpam maurvi madhu kara mayi pancha visikha
Vasantah samanto malaya marud sayodhana rathah
Tathapi ekah sarvam hima giri sute kam api krpam
Apangat te labdhva jagad idam anange vijayate


Dhanuh paushpam = the bow made of flowers
Maurvi madhu kara mayi pancha vasikha = the bow-string
With Five-fold flower arrowheads is made up of bumblebees
Vasantah samantantah = the springtide makes the minister
Malaya marud ayodhana rathah = the wafting mountain breeze
Stands for the war chariot
Tathapi ekah sarvam = notwithstanding all these as one
Hima giri sute = o Daughter of the Himalayas
Kam api krpam = whatever mercy
Apangate = from Your side-glance
Labdhva jagad idam anangah = having derived that limbless
god of love (Eros)
Vijayate = he reigns supreme


O Daughter of the snowy peak, just deriving from your glance askance,
Whatsoever grace he could, with flowery bow and bumble-bee bowstring
And five-flowered dart and springtide for messenger, all these as one withal,
Mounting the chariot of the Mountain Breeze, he victoriously reigns, that god of love.

SLG1 - P29


We have first to recognise the components mentioned in this verse as making up the totality of the Absolute feminine principle.

The bow, arrow, the humming bow-string and arrowheads are concrete and harsh counterparts to be viewed in a more structurally subjective and refined context.

The chariot and the minister belong more to the general and plus side of concepts. They are symbolic rather than direct signs.

After fitting these various conceptual and perceptual elements into a total whole, one should think of Eros itself as a total and Absolute Value colouring life itself and giving it a vital complexion.

It is the Negative Absolute implicit in the Goddess praised here for beauty as a supreme value, under whose aegis Eros gets the power to influence human life always and at all places.

He himself substitutes and functions for the Absolute. A structural analysis will help to bring the rigid and subtle aspects of the total erotic situation of the double perspective into proper relief.

SLG1 - P29



The total erotic situation can be schematically represented as the top and bottom half of a circle. The bow of iron when conceptualised becomes flower-tender as a luxury springtime value.

Flowers bring bees and the bumblebee is the conceptual aspect of summer love-feeling in operation.

The five senses and their afferent functional counterparts are represented by five darts that hurt the lovers' hearts subjectively or objectively.

The total controlling factor giving purpose to erotic life as the season of spring and the total more ineffable plus side of the situation is a wind-wafted chariot.

The minister is a person here and now and thus has to take his position on the point where the vertical axis meets the horizontal at the O Point.

Eros himself is an abstraction by the mind and thus he represents an erotic value under the aegis of the Absolute and could be said to radiate his essence of the whole of the conscious situation from
the apex of the plus Omega Point, while the Devi herself, as his counterpart, occupies the rich ontological position of the Alpha Point. Other structural implications ought to be clear.


Kvanat kanchi dama kari kalabha kumbha stana natas
Parikhina madhye parinata s'arac candra vadana
Dhanur banan pas'am srnim api dadhana karatalaih
Purastad astam nah pura mathitur aho purushika


Let that dominant counter ego-form of the City-Burner
with full moon- like face
Through the jingling of Her waist band, bending by the bosom
Resembling bulges on an elephant's front, very thin at waist,
Appear before us, holding aloft in Her hands, bow with arrow,
noose and goad.


The "Purushika" of the last line is the feminine counterpart of Shiva who is the destroyer of cities. The reference to the jingle of the waistband is to indicate that state of mind induced by sound in which the Goddess of this series of verses is to be meditated upon subjectively, selectively and schematically.

When thus contemplated upon, the full bulging bosom gets a bold contour comparable to the bulges of an elephant's head with which it can push around logs of heavy lumber in a yard.

The picture suggests the positive vital urge. These two bulges, when contemplatively treated psycho-physically as positive value- factors pertaining to the élan vital of the numerator aspect of
the total situation involved and suggested in this verse and reduced to contemplatively visual outlines will also reveal a middle ground linking the positive and negative aspects of the psycho-physical entity here referred to as a slender, emaciated or thin waist band by the weight of the
full, pot-shaped bosoms.

A logarithmic curve can be supposed to be implied here connecting the numerator of a full bosom with the denominator aspect of a face having the brightness of the full moon.
The fact that the face is mentioned after the full breasts as its numerator is no objection because the inversion of value factors is implied here by the principle of double correction and back
to back inversion.

The four items held in the four hands are to be treated as monomarks revealing the functions of word, meaning, restraint and stimulus; which are semantic or semiotic in character.

SLG1 - P31



At the centre of the schematic structure we have to place the radiant full moon as representing the face.

The thin waist has a double correction and back-to-back inversion in which the positive ego of the City-Burner cancels out the negative existential richness of the full breasts.

A logarithmic curve joins the two halves into a unified whole for purposes of meditation on the Absolute value-factor of sheer Beauty as hypostatic and hierophantic at once.

The beauty of the Goddess represents complementary factors or functions in the context of
word and its meaning. The zero point induced by meditation on the sound of the waistband jingling bells represents the normal white light of Absolute Beauty.

We have put faces at both the Alpha and Omega Points in order to respect the reciprocity and complementarity of the counterparts which could also be considered as cancellable or as compensatory in principle. The whole is to be treated unitively as a normalised value under the aegis of the Absolute under the caption of Beauty as a high human value.

SLG1 - P32


The bulging breasts of the Devi are like the two knobs on the forehead of a young elephant.

She is slim of waist with a face like the autumnal full moon.

Here Sankara is laying the foundation for the schemas. What has the pride of Shiva got to do with all this?
The knobs or protuberances are a kind of pushing of the ego.
They are the hardest and most egoistic part, when compared to the heavy

The Omega Point (Shiva) descends, burning the three cities.
The parameter from above is pride.(A woman does not want any reference to the vagina etc..)

The pride of Shiva from above is meeting the pride of the Devi from below.
Why is there reference to the jingling girdle? - this is to mark of the horizontal line.
The breasts have both a numerator and a denominator aspect.
So we have the descending pride of Shiva and the ascending pride of the Devi.
Why is she bent under the weight of the breasts?
The face should be put in the centre.
The elephant means the Numerator side - pride
Heavy means the Denominator - existence.
Bow and arrow mean that She will punish someone, she is not defeated.
The noose means to attract.
The goad is something to prod with.

SLG1 - P33

So Sankara says:
"Let that image stand before me with all of its aspects and
functions, fully self-sufficient with her pride - for the purpose of my meditations".
The beauty of the face is in the centre
Shiva descends to give beauty to the face.
The waist is thin, to indicate the vertical parameter or axis, bent to indicate the sinus curve.
The Numerator and Denominator sides are clearly demarcated by the waist.
"I have rediscovered mystical language": Nataraja Guru
By Herself, She can have heavy breasts - but how can she show the firm proud breasts without meeting the pride of Shiva?

SLG1 - P34

A streaming flow of nectar - that certain kind of liquid -
between the legs of the Devi - from that centre downwards,
bestowing grace on all it touches.
And thyself resembling the form of a serpent of three and a half coils.

SLG1 - P34

The angles which etc.etc. - becomes completely schematic.
To clarify some other secret mystical schematismus.
There are no analogies here. Look out now for 44 verses of
schemas. Five triangles with the apex upwards, four down, circles

SLG1 - P35

Sudha sindhor madhye sura vitapi vaatis parivrte
Mani dvipe nipovana vati cintamani grhe
Shiva kare mance param Shiva paryanka nilayam
Bhajanti tvam dhanyah katicana cid ananda laharim

Some lucky men contemplate thee as the upsurging billow of mental joy
Seated on a couch of Shiva form and having the supreme Shiva for cushion
Placed in a mansion wafted round by perfumed blossoms of Kadamba trees
In a pearly-gem island, mid-ocean placed.


One should imagine several concentric circles and try to place
the supreme value of Absolute Beauty at the very core. One should
then introduce the Shiva principle as having its ontological
counterpart representing the basis of existence on which any
value has to make meaning. Shiva as an Absolute Value has Parama
Shiva (the supreme Shiva) co-existing with him as a value-factor
thinkable both hypostatically and hierophantically with reference
to a vertical parameter traversing the plus and minus levels of
the total situation analogically pictured here. The four-legged
couch lends its existential stability as a value for the goddess
here and the cushion is only a more easy or thinner version of
the same Shiva principle upgraded teleologically.

Beauty is justly placed at the centre of a circle representing the infinite
plenitude of immortal bliss which contemplation of the value
of Absolute Beauty must necessarily bring. The celestial trees
form the most peripheral circle of the island and the core is
surrounded by an inner circle of more ineffable or subtler values
analogous to the perfume of the Kadamba trees (said to be the favourite
of Parvati in Sanskrit traditions, the actual species is of no importance).
The couch must be supposed to have four legs to give it stability
and support and it is suggested that Brahma, Vishnu, Rudra and
Ishvara are the supporting legs. The analogy need not be
stretched so far, but elementals are implied here as vertical
principles supporting the notion of the negative factor of
Absolute Beauty as a value. Brahma and other gods have an
ontological reference besides their hypostatic status in the
Vedic heaven. The pearl-gem island and mansion consisting of
thought suggest subjective consciousness centrally, while
peripherally the celestial trees represent universal concrete



SLG1 - P37


The structural analysis of this verse involves both solid and
plane geometric constructions. Three-dimensional solids with
conics kept in mind and one normal conic section representing
the horizontal reference of workaday realistic value has to be
inserted between two cones placed base to base for purposes of
double reference and correction back to back.
These structural and epistemological features have been
explained at length in various parts of our previous writings.
The colour solid with the Chakras (wheels) with triangles having
apexes upward or downward pointing is an attempt by the Tantra
Shastra to schematise protolinguistically the contemplative
values and existent and subsistent factors involved. Ontology
here counts above teleology, and it is Shiva and Parama Shiva that
have been reduced to the universal concrete status of cushions or
cots. The vertical parameter passing through the centre and
apexes of the two inverted cones is the non-dual correlating
principle integrating physical value factors with metaphysical
ones in the structural totality of the Absolute.
Other implications in this are clarified in the two figures.

SLG1 - P38

Kalidasa has woven a fabric, showing that the ideal of feminine
beauty emerges out of this quantitative (horizontal) mass called
the Himalayas. Kalidasa has done this with Parvati - daughter of
the Himalayas - providing a consort for Shiva, who is admired by
the Munis.
All of this must be presented in the first twenty minutes of the film.
The Colloquy of the Gods (Uma Haimavati, see Upanishad.)
Through the beauty of a woman - the best way to give content to
the Absolute.
It provides an inspiring standard by which to regulate our lives.
A woman represents the counterpart of man - abstract and
generalise for a woman who worships her husband like a god -
she becomes the Self, he becomes the Non-Self. She is so directly
related to nature that there is a one-to-one correspondance
between the cosmos and the micro-cosmos. (See Kural).


Some lucky men contemplate thee as the upsurging billow of mental joy
Seated on a couch of Shiva-form
(Shiva is reduced to a hierophantic character, i.e. a couch.)

SLG1 - P39

One should imagine several concentric circles having Absolute Beauty
as its central core.
The four legs of the couch lend ontological stability to the Goddess.
The celestial trees represent the peripheral circle of the core (the outer circle).
The couch must have four supporting legs, perhaps
Brahma, Vishnu, etc., representing the elementals.
The pearl-gem island and mansion of thought.

And having the Supreme Shiva for cushion
Placed in a mansion wafted round by the perfumed blossoms of
Kadamba trees
In a pearly-gem island mid nectar-ocean placed

"Chidananda Lahari" = upsurging of mental bliss.
Derive woman from the Himalayas.

SLG1 - P40

Colloquy of the gods.
Nataraja and Parvati
Burning of Kama Deva
Third eye
Ganges as a cooling influence



The Shiva form and the Supreme Shiva, as couch and cushion, are ontological factors of stable existence which have a one - one correspondence with the hypostatic Shiva and the Supreme Shiva principles.

SLG1 - P41

One should then represent the Shiva principle as having its
ontological counterpart representing the basis of existence on
which any value has to take meaning. Shiva as an Absolute Value
has a Parama Shiva co-existing with Him as a value factor
thinkable both hypostatically and hierophantically, with reference
to a vertical parameter, having thus the plus and minus levels of
the total situation analogically pictured here.
The cushion is only a more easy or shinier value version of the
same Shiva Principle as the couch, upgraded teleologically rather
than ontologically.
Beauty is justly placed at the centre of the circle,
representing the infinite plenitude of immortal bliss which the
contemplation of Absolute Beauty must necessarily bring.
Celestial trees form the outer circle, and the inner is of
ineffable or subtler values analogous to the Kadamba trees,
said to be the favourite of Parvati. It is suggested that
Brahma, Rudra, Vishnu and Ishvara are the supporting legs.
Elementals are implied here as verticalized principles supporting
the notion of the negative factor of Absolute real Beauty as a
value. The pearly-gem island and mansion of thought suggest
subjective consciousness centrally, while perceptually the
celestial trees represent universal concrete values.

SLG1 - P42

(manuscript follows - ED)

Dravida Sishyu (Dravidian child) and Vidyarthi (wisdom-seeker)
People say that Sankara was the "Dravida Sishyu" only through
the 41st verse.
(Guru explains the background of the Mahabharata war.)
Krishna goes personally to the Pandavas, lends qualitative strength
to the.....
Even today, it is all right to kill a Shudra for repeating the Vedas
of the Aryans.
Sankara says "I am a Dravida Shishyu", and "I am a Vidyarthi"
In VERSE 71 (by drinking the milk of Saraswati).

The change from Ananda Lahari to Saundarya Lahari after Verse 41
is of an epistemological nature. The same subject can be treated
as a Mandala (Ananda Lahari) or realistically as Beauty.

SLG1 - P42
VERSE 8 sets the style for the rest of the verses up to 41.
The Indian philosophical tradition and Mother temples come
as a result of the mixture between Aryan and Dravidians.
Sankara calls himself "Dravida Shishyu" because he is the
follower of a primitive Goddess.
The Mandala structure exists through the first 41 verses.
Sankara incorporates Tantra Shastra, the Vedas, Buddhism, and restates
them all in terms of Vedanta.
Dravida Shishyu and Vidyarthi (the wisdom seeker) worshipping
Saraswati (a revalued Kali), the Goddess of Wisdom, representing
the final stage of the Goddess acceptable to Vedanta.
Narayana Guru also began a Saraswati Temple.

SLG1 - P44

- so a woman's beauty is idealised, as in Sankara.
There were some women in ancient times who came from North
India, were treated as Gurus and had temples made for themselves,
or began Mother temples on the Kerala coast...
(reference to Phumala Bhagavati Temple on Ezhumalai island).
Ezhumalai is the epicentre of this kind of spirituality.
It is a numinous presence, "a magic place".
In VERSE 8, the Mandala of concentric circles begins, going on
through VERSE 40.
How does it happen that there are Sanskrit scholars among the
peasants of Kerala?
It is explainable by the population movement from the North, along the
coast, because there are paddy, coconut, fish and spices there.
They can thrive with no money.
Why does Sankara call himself a Dravidian and a Wisdom-Seeker
- not an orthodox religious man?
There is a great tradition of Sanskrit pundits on the Kerala coast,
by the will of the ordinary coolies.
In VERSE 8 it is called Ananda Lahari
- this is subjective, with Mandalas.
After VERSE 40 it becomes objective, describing the beauty
of the Goddess.
The women had the money when they came down from the North.
They had certain hangers-on to manage their affairs and these men
often became Brahmins.

SLG1 - P45

The island is a gem at the centre of the ocean. Just show a real
island, with a nice park, within a lake, actually seen. You can show
one or two varieties. Then introduce the romantic element of a
woman living there. Then reduce it into a Taoist painting - first
degree reduction. Then change the lake to a milk ocean, bring in
Vishnu - here there must be some mythological pictures.
Then reduce further so that the island is a beautiful gem seen
from far away, in a milk ocean..
Then reduce still further, playing with colours, finally reduce it
to a Mandala - where it is a drawing, not the outline.
In the studio, show horizontal, vertical and conical cross-sections.
Cross-sections must have a real view and a celestial view = two views.
There is always a lower and a higher version.
The Goddess sits at the lower hierophantic and at the higher
hypostatic levels - again, two conic sections - brings in the cushion.
Then conic sections give way to play with the 1st, 2nd, 3d and 4th
dimensions, finally reducing to a single point of light bursting
and becoming dim, like fireworks.

SLG1 - P46
There is a picture of a yogi meditating and the chakras he sees
must be shown in the form of Mandalas.
To take the viewer to the depths of the meaning, he must see each
of the various steps. This needs a group of artists to be trained
in preparation of these Mandalas. (A studio can be prepared in
San Francisco for the purpose).
With VERSE 8 a review of the Chakras begins.(Begin to memorise
two verses a day, to be recited each morning. In this way the
levels and correlations between the verses may be comprehensively
There must be a professor who understands mathematics and an
Indian swami who understands Vedanta, who will open the book and
read in Sanskrit, devoting not more than one minute to each.
Galaxies - red shift - Universes expanding and contracting
- Big Bang - Genesis - Rigveda 10 etc.
i.e. "In the Beginning" after showing some of these hypotheses,
with some film taken from planetaria.
Then you come to the Himalayas - India - showing (then) a king in
full regalia being worshipped - then fade out to the Himalayas, or
Then show Vishnu, then Brahma; include some semi-divinities,
showing a logarithmic spiral between the two.
Then we proceed to Shiva as Mahesvara.
Like the Asuras, Kinnaras (the celestial flute-players).
Cosmology according to Eddington and Jeans.
Without the Trimurti (the three gods) you cannot understand.
Then cut to the Himalayas once again.
The Himalayas of the Kumara Sambhava (of Kalidasa): to bring out Parvati;
The last trip was for Shiva.
The first 10 or 12 verses of the Kumara Sambhava will give
Create a world of fairies and divine gods as per Kumara Sambhava.
Finally bring the life of a certain tribe of simple people.
The object will be to create the Devi.

Introduction page: (see Guru) showing scenes from various
villages in India.

Show the Colloquy of the gods - after Kumara Sambhava.
The numerator functions of the gods must be shown.
The gods must be a wonder in the Numerator, finally being filled
to give Saundarya Lahari.


A double action spiral, back to back, with three zones on the vertical axis.

A quadrant of value, on the part of four types of people:
The dull-witted, the destitute, those submerged in the world of births, etc.
Each person has one of these three value-worlds.

SLG1 - P48

Stresses the importance of the feet of the Devi - "I do not care
for all your gods" - The bottom of the vertical axis is important
as the square root of minus-one.

Eros, as horizontal, is brought in, also virtual beauty, not yet
verticalized.(Read the Puranas and find out where Vishnu took
the form of a woman)

Ananga (Eros, "the limbless one") = Beauty.
Ananga rules. Although he is a passion, he still rules. (See Othello).
A picture of the Devi - very slim of waist - a kind of double
structure - the slim waist is to show there is no real existence.
There is only a slim horizontal parameter.
There is a progressive building up of schemas until we come to
VERSE 8 which is a circle or Mandala. Conics and Mandalas are

"Broken through..." - earth consciousness becomes a flame, breaking
through the various stratifications.
Alpha and Omega are sleeping together - but not in a bedroom.
Kundalini Shakti is bursting through.

A serpent of three and a half coils - this must be some of the
basic Chakras.

SLG1 - P49

Mahim muladhare kam api manipure hutavaham
Sthitam svadhisthane hrdi marutam akas'am upari
Mano'pi bhru madhye sakalsm api bhittva kula patham
Sahasrare padme saha rahasi patya viharase


The earth placed in the Muladhara, water in the Manipura,
Fire in the Svadhisthana, air in the heart, with space above
And amid eyebrows placing the mind, and while breaking through
You do sport with your lord secretly in the thousand-petalled lotus.

If one should take a backward glance at the two previous
verses, it will be noticed that there is a progressive use of
structural language. The duplication of the form of the Devi in
VERSE 7, with reference to symbols held in the duplicated four-fold
hands of the Goddess pushed realistic representation to the
very limits of pure structural expression. In the next verse the
conic-sectional version is introduced. In the present verse the
Shad Adhara Chakras or structural units placed serially from
the Alpha to the Omega points of the vertical axis are passed in
review in summary fashion. Of all the elementals, the earth is the
richest factor in terms of ontological reality or existence.
The earth as such in a real workaday sense is not the earth-factor
abstracted and generalised with contemplative intentionality
implied in it. In other words here it is a verticalized version of
earth as prime matter or as the unmoved mover as with Aristotle
that we have to think of. The same holds good for the other
elementals mentioned later in the verse such as water, fire, air
and ether which become thinner in ontology, but richer in
teleological import, both comprised under Absolute Value as a
normalising reference. After fire as an elemental principal, those
higher in the scale, such as air, space and the mind principle tend
to have a conceptual rather than a perceptual status. In his
revaluation, the author seems to omit the names Anahata, Visuddhi
and Ajna which are generally applied to the principles of air, sky
and mind respectively.
All these can be on the two ambivalent limbs of the vertical
side, the numerator being conceptual and the denominator side
perceptual. The thinnest mathematical or mystical value factor
is like a parameter passing through and linking all gradations of value-
units and is conventionally referred to as Sushumna, symmetrically
placed at the middle of the bilateral functional factors called
the two nadis: Ida and Pingala. At each of the Adharas or
stable points or Chakras (structuralised representations as units
placed at different psycho-physical levels) there is to be
imagined a neutralised version of a value-system proper to the
level implied, but any two of them cancel out into a higher third
till the highest in the thousand-petalled lotus called the
Sahasrara is reached. There the cancellation of counterparts
becomes complete and thus the Alpha meets the Omega with parity
between them. The mind being the seat of willing is placed in
between the eyebrows. Each of the Adharas named represents a
stabilisation, like the notes of music made by the frets of a guitar.
Six such are usually named and recognised although it is possible
in principle to add more intermediate stabilised positions.


SLG1 - P51


The six Adharas are stable stages or serialised steps of
epistemologically equal status representing existent, subsistent
and value systems. Thus structurally they take positions on a
vertical parameter, each point compensating, reciprocating or
cancelling by neutral absorption. The serial pluralism is only for
schematic purposes without intrinsic difference or gradation.
The lower Chakra absorbs the higher in the ascent that is implied
here. Other later verses will stress further structural
peculiarities. There could be ascent as well as descent and
normalisation at the central points of origin. Numerological
indications are also possible.

SLG1 - P52

Chakras are supposed to begin at the base of the spine - earth is
matter in its purest form, in which the Devi plays a part. When
you shut your eyes in meditation, feel matter at the base of the
spine and light at the top.
To know this axis, and to have everything melt into it, this is the
secret of yogic mystical practice.
The music goes inside the vertical column, at six intermediary
levels, producing variance in octaves (stillness?)(illegible).
It is an axis with two ambivalent limits, matter and consciousness.
It is below what is known and beyond what is known (Upanishad)
There is no sound beyond the upper and lower limits.

The Goddess is flirting with her consort.
You have gone from the ground floor of a building and have passed
through mysticism in an ascending series of stages.
She goes straight to the top, stopping at no intermediary levels.
Although the Chakras are in a serial order, they must be taken as
a trans-finite series of ordinal numbers, 1st, 2nd, 3rd..etc.
These are not distinct or separate - finite or cardinal - they are
to be considered as just a part of a series.

SLG1 - P53

Only five Chakras are mentioned here, there must be six - an error of
the pundit. The Guru will use his intuitive structuralism to place it correctly.
The whole of this is known as the Kula Path - from the heart onwards
it changes from the elemental to the conscious: i.e. the heart (air),
space (ether), and mind.
Interpenetrated, the Kula Path is seen as a unified whole.
The fire has to be placed in the heart.

"You remain secretly sporting with Your lord in the thousand-
petalled lotus.
Having broken through the earth principle of the Muladhara.
The water principle of the Manipura and the fire principle placed in
the Svadhisthana.
In the heart, the air, with space above, as also the mind between
the eyebrows and breaking through these,
Transcending thus the whole Kula Path".
Why did he not use the names of the three upper Chakras?
These are not existential factors but intelligent.
The function of space is to allow anything else to exist within
it without contradiction - Akasha.
Anyway, we approach space by a negative process
- as Sankara, so Einstein.
(See the difference between demi-relativity and real relativity).
Michelson - Morley experiment, Fitzgerald.

SLG1 - P55

The heart - "never killed" the centre of life (intermediary?).
The mind, ether, breath or breeze - both material and immaterial.
But the three existential Chakras have been mentioned, and not the
three conceptual ones. This eliminates the duality between mind
and matter.
This Kula began to thrive as an esoteric doctrine with the fall
of Buddhism.
The Devi here is called Mula Prakrti (root nature), bursting out from the vertical axis.
Horizontally, space is impermeable but as you become verticalized
there is a process of inclusion, as opposed to exclusion.
The physical heart is the centre of vitality, thus air or prana (intermediate)
The heart has a locus, seen vectorially.


The earth placed in the Muladhara, water in the Manipura
Fire in the Svadhisthana, air in the heart with space above
And amid eyebrows placing the mind; while breaking through all,
You do sport with your lord secretly in the thousand-petaled lotus.

The Six Chakras:
Muladhara - Earth
Manipura - Water
Swadhisthana - Fire
Anahata - Air
Visuddhi - Ether
Ajna - Mind

SLG1 - P56

The Devi has to be understood.
Only in this way can Vedanta be presented in a useful manner.
Vedanta must be able to solve problems, especially marital.
The whole of the universe is composed of two forces, originating
at opposite poles, and meeting in a neutral, central zone, called by
Descartes the zone of occasionalism. Descartes discovered the secrets of
the Upanishads in his meditations.
So the Goddess must become the centre of meditation - thus the
meditation becomes normalised. Only that version of philosophy
which makes real values of the conceptual and the perceptual is
In order to have a pure conceptual understanding of Brahman, the
Devi must be given positive status. Not only a female, She gets a
real dimension, which finally becomes the Absolute.(See Sankara).
Sankara was fully conversant with the most precious aspects of
Hindu Philosophy. He made no mistakes because his intuition was
right. But you can go still further into the mystical experience
and be completely overwhelmed.
"I do not have mystical trances. I have trances of a mild nature,
and I have certain mild occult or psychic powers. I always get
the book I want."
The Devi is a normalised god - all the other gods are hypostatic.
She is a neutral Goddess.

SLG1 - P57

In these verses there is a kind of emanation (eternal value factor)
from between the legs of the Devi, being sprinkled on the Nadis
(psychic nerves).
The vertical reference of that is as noble as any joy which can
be had through meditation.
By her intentionality, she is blessing (sanctifying) everything in
the universe. (Eidetic intentionality)
There is a transient (horizontal) as well as an immortal (vertical)
dimension in everything.
Whenever there is a ritual, there is a Mantra which goes together
with it. Participation from both sides.
The two legs represent the virtual and the actual.
There is the thinnest of parameters between (the vertical axis)
- like one eye as the sun, the other as the moon.
There is a jingling of bells on the waist of Shiva which sufficiently
represents him in this verse.(See below).

Here there are three functions to the Goddess:
Benediction (sprinkling),
Beauty of face,
Breasts both heavy and proud.

She is bent at the waist by the heaviness of the breasts.
The bend suggests a thin logarithmic spiral at the waist, and the
heavy breasts indicate the denominator aspect. When you get into
the third dimension, you need logarithms.

Destroys the three cities and shows the Absolute is more important.
When Shiva descends on the vertical axis, how do you know he is
there, functioning? By the jingling of the bells on the waistband.
This also indicates that his waist is at the horizontal level.
Thus, in this verse, Shiva is adequately represented as present.
The Devi is only a protolinguistic representation of the Absolute
- on the perceptual side. It lends itself to description.
Brahman is a bright light, incapable of description.

SLG1 - P59

"Maha" (great) always signifies some universal background of the Absolute.
Aruna(?) (?) Mahasada = totality of the Vedas and Upanishads.
3 1/2 coils because that is half of 7
Breaking through all the Chakras.
Here the snake has 3 1/2 coils, belonging to the perceptual side inside a cavity.
Certain nerve centres have a synergetic function (yawning, sneezing, etc.)
affecting several organs.
Put three synergetic centres on the negative vertical, with a cavity (Muladhara)
at the bottom. There, there is a coil or knot.
This is a source of memory, this is the memory centre.
Kundalini rests there.
This is a description of a nerve centre, with certain lines of facilitation.
Imagine the two legs of the Goddess and there is something
flowing down, sprinkling, blessing the whole world with something
that comes from above.
Place the feet of the Goddess on the horizontal axis.
Then place yourself below, looking up.
The blessing is sprinkling down on the whole world.
Verticalised elementals are pure light.
From the O Point, there is consoling water sprinkled by the Devi.
Kundalini lives in the Muladhara, and wants to go to the Sahasrara,
where it will have a thousand heads.
Time is represented as a snake.
A thousand heads means that man is conquering the horizontal world.

SLG1 - P60

The Kula Path is the vertical ascension of the Kundalini.
Anyway, the water is sprinkled downward.
Amnas Mahasada(Vedic) (?): Amnu (?) means the conceptual side.
The Kundalini is rising up to the moonlight.
Sunlight would be too bright, too horizontal.
After deriving something from this Amnis Maha Sada (? ED),
the snake returns to its "home", the last bone of the vertebral column,
Muladhara: the centre of all nerve force.
It ascends in this way to the horizontal axis, then it can invert its spiral
on the Numerator side, disappearing in nominalism.
So, this downward movement is to the Negative Absolute,
sleeping there and able to rise when it chooses.

SLG1 - P61

Structure at the negative or normal limit.
Normalised schemas or structuralism.

With five Shiva - maids
Of Shambo the distinct ones
The nine (basic) of prime nature
Of 43 elements
With 8 and 16 petals, 3 circles and 3 lines
Complete (making up a total)
Is thy refuge in angular matured form

This is a Sri Chakra with all of its component parts normalised.
Triangles are relational and represent a certain order.
Space can be represented by a line. All this is to show the
relations within the Absolute.
How can we explain the putting of the Absolute into a structure,
with a certain number of components?
Who asked you to put the Absolute into a structure ?
How can the Absolute have any geometric structure hiding in it?
The human mind is most at home when it can think of a solid,
according to Bergson.
The mind can also think of a concept:
this is why we have Para- and Apara-Brahman. (immanent and transcendent Absolutes)
How do we justify the houses or angles?
You cannot predicate anything about Brahman, so why draw diagrams?
It is a defect of our minds, which either need a geometric solid or a category on which to fix.
There are two kinds of philosophies, algebraic or geometrical.
We have also the algebra of geometry and vice-versa.
This question of making drawings is an epistemological one:
we make schemas to show the relations within Brahman.
There are two fundamental distinctions - Para and Apara.
When geometry and algebra confirm a point, that is final.
(Post - Hilbertian mathematics has to be studied, a mathematical reality is as valid a "thing" as any philosophical point. (A Universal Concrete.)
Abstractions of thought must meet the form of logic.
The relation between forms of thought and forms of logic - there are two proofs to Pythagoras' theorem: one is visual, the other is intellectual - and it is the same thing with Brahman and Absolute
Brahman is an abstraction of the mind, how can we relate it to
Para Vidya and Apara Vidya (immanent and transcendent knowledge)
- one is geometric, one is abstract, like algebra.
We use schemas because the mind needs something to hold onto.
Just to speak of the Absolute is elusive: we want a gooseberry to hold in the hand, something definite.
The Gita says that if you know Samkhya properly, you will also know
Yoga - and vice versa. "He who sees Samkhya and Yoga as the same, he alone sees the truth".
In the Colloquy of the Gods, the same Akasha (Space or Ether) gives up the figure of the Devi.
This is the greatest secret of the Upanishads.

SLG1 - P63

Ontology is better than Teleology,
or Double Negation is better than Double Assertion.

Women know the Goddess very easily.
Then by tapas (austerities) there are men who try to get the same thing.


Your beauty, which
O maiden of the high peak
In order to weigh ( to estimate the value of Your beauty)
The best among poets (Kavindraha)
(they) imagine (kalpanti) (exercise their fancy)
Somehow or other (kathamapi)
Brahma and others (refers to the Trinity)
(note theory of ensembles)
out of curiosity for seeing (Your beauty)
Heavenly maidens
mentally attain to
by men of austerity
even what is difficult (for them) to attain
the state of union with Shiva

In the matter of attaining unity with Shiva, the maidens are at an advantage


SLG1 - P64

These Tapasvis (performers of austerities) try to build up a Numerator, but the maids get identification with the denominator Devi simply by their sympathy for Her.
They are able to merge mentally with the vertical axis, at least on the negative side.
To describe the Absolute in terms of the Numerator, one must be a philosopher, it is very difficult.
But it is easy for the maidens to merge into the ontological vertical axis by their sympathy with the Devi.
Vertical beauty is approximated by the poets, but they cannot escape the fact that they are still dealing with the pluralistic world of many (Vedic) gods.

The Vidyarthi (wisdom-seeker) is outside the picture of concentric ritual circles, he winds up with a mystical experience, while the others partake of the ceremony.
This can receive elaborate treatment, fanfare, etc.
Then all fades out into the Vidyarthi.
This can be given 10 minutes:
A) Architectonic
B) Geometric forms, logarithmic spirals, conic sections etc..

1) The negative approach of the women is better than the ascetic one.

2) The importance of the gods is minimised here.
The Tapas of the mother is better than the Tapas of Rishikesh (holy city on the Ganges).
It is negative, subject to the laws of nature.
The true Denominator is better than the fake Numerator.
Nine months' pregnancy verticalizes a woman.

3) The reference is to the Daughter of the Himalayas;
show a woman patiently at her home duties.
The idea is that the woman is nearer to God than the man,
even if he is a Muni.
Women can hate themselves - and that is their meditation, they can hate the giving of birth to children and by double negation become like a streak of lightning.
The point is that the negative way of the women is closer to God than the numerator way of the Munis.

4) The damsels are called "divine" because they have to cancel out the numerator gods mentioned in this verse.
This is an epistemological law which Sankara knew.
It is also suggested that the poets try to attain Absolute Beauty somehow or other; but the maidens attain to it.

SLG1 - P65

(matter as previous page, for the film)
Method: employ an archer - pulling of a bowstring is a negative
action, directed to the base of the spine.
The target is on the numerator side.
Show a scene where the maidens are bathing and dressing the Goddess
in preparation for Shiva.
Sayuja - attaining complete union with the object of worship.
Swans swimming in a pond enter a tube and come out the other end as

SLG1 - P66

After taking a fully structural perspective in the immediately preceding verse and before going into realistic aspects of the same in the next two verses, to be followed by more positively conceived structural perspectives in VERSE 14 and elsewhere in this section which terminates only in VERSE 41.

SLG1 - P67


Each structure and verse must be individually viewed,
then dynamically viewed,
then serially viewed.

Structural stills with dynamic animation and explanation,
Then swinging into the text.

1) Still
2) Explanation of still
3) Animation and dynamism

For dynamism: Kali, the negative spirit of the Absolute.
From Kali Natakam, which the Guru must translate.
The stills will be few in number and will be referred to several
times throughout the film to explain.
Ten minutes explanation at the beginning of the film.
Kali Natakam: you cannot have more eroticism than in this dance,
but it is vertical eroticism; it will not hurt anyone.
Then, a Yogi in meditation, with Chakras - a bird flying in the
Numerator and Kundalini in the Denominator.

The psycho-physical concept of breasts like knobs on the elephant's forehead. Lightning coming from the base of the spine, finally pushing at the breasts as the pride of Shiva.
Then cut to an elephant pushing logs with his forehead.
Now we must begin to serialise the verses.

SLG1 - P68

Shiva descends, Parvati ascends > fireworks and Chakras.
Sprinkles holy water to sanctify the world.
The five-petalled lotus becomes closed when she gives her benediction.
All the energies of a woman come from the negative power.
Kulakunda - the Kaulas worshipped the negative absolute
Like the bulb of a lotus flower (the Kulakunda).
This is a bulb- like source of energy for the Devi.
After spraying the horizontal created world,
She causes it to become verticalized like a closing lotus.
The dichotomies (the two ambivalent poles) meet and burst into the universe. Then she sprinkles it (all of the flower blossoms and the sense-interests found in the buds) to halt the horizontal tendencies.
The Kulakunda (bulb or tuber) is where the Devi sleeps.
So the vertical parameter has been supplied in VERSE 8;
then the actual and the virtual are supplied in VERSE 10, and we
have gone to a pure negative Chakra.

SLG1 - P68

This is a fully geometric structure, he is now describing the Devi in pure mathematical terms.
There are four triangles with their bases above for Shiva and five with base below for the Devi.
Taken all together, there are 44 elements - 9 triangles, 3 circles, 3 lines, the 8 petal lotus, the 16 petal lotus.


SLG1 - P69

There seems to be dispute about the proper number here.
The English translation by a Malayali Pundit has innumerable theories.
14+8+16+3+3=44 - Structural factors to be used:
"Mathematically conceived elements", "Structural loci"
(check VERSE 96 to see if four doors are mentioned)



This consists of full Chakras, the most concrete yet.
(Guru's drawing to show that a fully-fledged Chakra has been reached )
The Sanskrit-Malayalam rendering indicates either 43 or 44 structural loci.
This must refer to conics; when they say triangles from opposite directions,
they must mean conics.

SLG1 - P70

The ancient Hindus, who founded Tantra, were not conscious of conics.
How to count these angles?
When they say three circles, letters and magenta; it is plane geometry.
But when they say Kali....
Three concentric circles are peripheral and central only - this is plane geometry.
The Greeks developed conics to a high degree, calculating ellipses, parabolas, charting the paths of stars, etc..
An ellipse must be fitted into a conic section to be defined.
It is a flame or lotus or lightning.
The face or Bindu, is put into place with Shiva.
Then speaks the descending pride of Shiva and the ascending pride
of Parvati.
The bells on Shiva's waist are peripheral and at the outer limit (upper?).
Then the heavy breasts of the Devi, put into a conic section.
(The inside cones do not count (Shiva Kanyas) since there can be an
infinite number of cones in a cone.
Something about which you can make a predication = prinaia (?illegible)
This is the house of the Devi with its 14 exterior angles, etc.
The interior angles are merely Kanyas (maid-servants of the Devi).

SLG1 - P71

After counting the 5 and 4 triangles, think of them as one, joined in the totality. The house where You reside (your refuge, which you occupy).
The centre is where You reside, the exterior angles represent Your physical house.
Parvati has the function of manifesting the world, while Shiva represents the pure vertical axis.
Thus she cannot represent the final Absolute but is absorbed into it.
These three circles are the girdle of the structure.
With lotus petals and magenta and chromatic colours, coming from the waist of the Devi.
The Indian mind wanted to represent something, but had an incomplete knowledge of solid geometry.


Your beauty is admired first by women, who appreciate it in such
A way as to outwit the Munis (sages) doing Tapas. These are
the servant-girls of the Devi. By identifying with the beauty of
the Devi, they attain to the Absolute.
When the Devi wants to be beautiful, it is under the aegis of the
Absolute. With the third eye, ashes, and not brushing the hair, she
emulates Shiva.
She is properly purified, and sets an example for the servant-girls.

SLG1 - P72


Daughter of the snow-capped mountains (ultimate source of beauty),
the foremost poets are balked in their attempt to find an equal to
Your beauty, as even celestial damsels, in their eagerness to appreciate it,
mentally attain a status of unity with Girisha (Shiva = "mountain lord");
which is hard for the Munis with all their meditations.

All lyric poetry is an attempt to describe or attain to beauty.
Munis try to meditate on it. But the servant girls have access to the mansion, and so they identify with and appreciate it.
They are already in the vertical axis, participating in the value of the beauty of the Devi.
There is the question of Virinchi (see translation of this word) which is
indicated in the translation as Brahma, the Creator, and hence creative poet.
But the Guru finds it to mean that the poets are the creators of the gods.
The gods are both the causes of poetry and the effects of poetry.
"In order to determine Your value, the great poets are, somehow or other, creating, by their fancy, a shape, somehow or other to Thy absolute beauty".
That is, they bring out something as existing.

SLG1 - P73

They are giving shape to something, but to what?
To the three gods, according to the Guru.
In their intention to create something, they are producing
something - but the translators do not seem to know what it is
that is produced.

1) The girls are superior to the poets and Munis, because they are in direct contact with the Devi, and are female.
2) But the poets are not women and can enter into the spirit of the coquetry only indirectly.
3) The girls see that the Devi loves Shiva and they emulate her, thus approaching Girisha.
In trying to attain or describe the beauty of the Devi, the poets manage somehow or other to produce the three gods, Brahma, Vishnu and Shiva: conceptual entities which exist by the fancy of the Vedic poets.
The poets are restricted to the numerator side, indulging in poetic fancies, and so they produce numerator gods instead of the Devi.

SLG1 - P74

(Printed matter from "Values" follows.)

Tvadiyam saundaryam tuhina-giri-kanye tulayitum
Kavindrah kalpante katham api Virinchi-prabhrtaya
Yad alokautsukyad amara-lalana yanti manasa
Tapobhir dush-prapam api Girish-sayujya padavim.

Tvadiyam saundaryam = your beauty
Tuhina-giri-kanye = o maiden of the high peak
Tulayitum = in order to estimate (the value of Your beauty)
Kavindrah = the best among poets
Kalpante = they imagine (exercise their fancy)
Katham api = somehow or other
Virinchi prabhrtaya = Virinchi and others
Yad-alokaut-sukyad = out of curiosity for seeing which
Amara lalanah = heavenly maidens
Yanti manasa = mentally attain to
Tapobhir = by men of austerity (renunciation)
Dush prapam api = even what is difficult (for them to attain)
Girisha-sayujya-padavim = the state of union with Shiva

O daughter of the high peak, to estimate the equal of your beauty,
The best among poets, exercising their fancy; somehow created
Brahma and others
Curious which to see, heavenly damsels mentally attain to,
What is hard even for ascetics, the state of union with Shiva.

After taking a structural perspective in the second to last verse
as well as in the last, and before going into realistic aspects to be
followed by more positively conceived perspectives with VERSE 14
and elsewhere, this section terminates only at VERSE 41, to keep to
the same attitude; i.e. treating Beauty as an inner experience.
Here in the present verse, the value implications as between
various components or limbs, are meant to be brought into relief.
It should be noted that it is nothing other than the value of
Absolute Beauty in the abstract that is the theme here. Beauty in
the abstract is neither wholly schematic nor wholly categorical.
The items of any imaginable category within the scope of
the Absolute have one-to-one correspondance with structural
aspects considered schematically. Both of them could refer to the
Self or the Non-Self at one and the same time and need not be
separated into subjective individuation of the Absolute Self or its
objective individuation, implying introversion or extroversion as
some recent writers belonging to the Analytical School of psychology
seem to suggest.
Terms like" Saguna Brahman" and "Nirguna Brahman",
"Apara Brahman" and "Para Brahman", "Jivatama" "Paramatma",
even "Atma" and "Unatma" are applied to epistemological aspects
of the same Brahman according to the prakarana (chapter) context in
Thus there are other grades and subdivisions of the notion of the
individual or the self, such as: "Pratyagatma", "Sutratma", "Vaishvanara",
"Taijas", etc.etc.
These terms have to be referred correctly to their positions, both
structurally and categorically.
The categories afford the symbols or monomarks while the
structural aspects fix the signs in relation to each. When they
tally, they explain one in the light of the other. We can use such
explanations for the psychological, cosmological or theological
clarifications for ourselves according to need as they arise when
the subject unravels itself verse by verse in the order conceived
by the author himself. To follow the workings of the mind of the
author is the primary task of the critical reader and it is the
claim made here - for the first time perhaps - of following such
a line of critical scrutiny in respect of theses verses whose
meanings have intrigued scholars for over a thousand years.
Now this justifies the other most natural claim that
Sankara as an advaitin could not have been thinking of any other
Godhead or deity whatsoever than the Absolute itself viewed
under the aegis of the one Absolute Value both real and abstract
at once, which is the aesthetic content here alluded to as a
sheer or overpowering sense of beauty. The Upanishads underline
many times that Ananda or joy is to be recognised by intelligent
men as representing the final content of the Absolute (anandam
brahmano vidvan). This does not however exclude the possibility
of the same Brahman being understood under the other two
perspectives of psychology or cosmology.
Ananda, Atma or Brahman are always interchangeable terms of equal dignity.
Brahman could be rich in ontology without it contradicting the
idea of its having a high intensity of value. Brahman is something
Great, Adorable and Existent and these epithets have to be pressed
together into one sheer experience in terms both of understanding
as well as aesthetic sense. What is implied in Sat (Existence) is
to be neutralised by what is implied as different from it in the
term Chit (Subsistence) or what might be suggested by the term
Ananda (Bliss) which necessarily refers to a value judgement.

SLG1 - P76

Whether we call Brahman Sat-Cit-Ananda or describe it as Satyam
(existence), Jnanam (subsistence), Anantam (infinite) as is
sometimes done in Upanishadic texts, each of these terms is
explained by Sankara as having the effect of neutralising or
countering any vestige of perfect unity suggested by any other of
them, so that they add up to a perfect unity of content which melts
or fuses them together into one non-dual Reality, Truth or Value.
The Good, the True and the Beautiful as in western parlance have
to refer to the same Absolute.
It is Absolute Beauty with which we are concerned in the present as
In all the verses of this work. Neither Tripurasundari nor Parvati
need be necessarily presupposed except by way of some latitude or
condescension made to religious-minded or pious upasakas such as
the Saktyas, Samayins or even Kaulins. The Jnani or man of Jnana
(wisdom) is always superior to the man of mere piety or works.
This is stated in the Gita (VII, 16) Sankara would be the last philosopher
minimise the efficiency of wisdom by itself for the purpose of
appreciating the aesthetic values that he wishes here to bring
into evidence in a manner consistent with his own philosophy
expounded elsewhere in his writings. No question of upasana
or worship therefore arises here. Those who use this text as a form of
religious observance rather than in terms of understanding, pure
and simple, are likely to miss its best message as intended by
Sankara. The Upanishads boldly assert that a knower of Brahman
can, without any further factor intervening, attain the Absolute:
"Brahmavit apnoti param".
Devotional attitudes or practices such as Yoga or Brahmacharya
are only the lower rungs of a ladder to be discarded when
surmounted. This does not however mean that they have to be left
out of consideration and have no place. When spiritual progress
is so looked upon with all the steps or rungs of the ladder that
must necessarily belong to it, it is thus that even the Upanishads
refer to the Vedas: "Vedah sarvagani satyam ayatana."
The meaning of this verse will become clear to the reader in the
light of what we have just said. It only remains to be put
together so as to tally the structural with the categorical elements
in order to make the meaning emerge to view.
There are the following factors involved:
1) Estimating the beauty-value of the Absolute;
2) The question of describing it in literature;
3) How the appreciation of Beauty is easier from the negative
ontological side of the psyche as represented by heavenly damsels;
4) How it is not so easy through austerities.

SLG1 - P77
Now let the reader scrutinise the text word by word and see that the top
half of the circle is to be filled by values that are hypostatic
and Vedic. The bottom half is to be similarly filled by the
values within easy grasp of the heavenly damsels. Now place the
men of austerities on the right or plus sector above the horizontal
line, and the damsels themselves on the minus left sector.
Appreciation consists of abolishing horizontal as well as the vertical
duality. The total implication thus arrived at will be sufficiently clear to the reader.
Similar verses will be found to have more than just curiosity about
beauty, such as the next one where heavenly damsels are again
referred to, which will have other values more realistic or more
abstract than what is implicit in the curiosity about beauty
here. Beauty can be appreciated as within itself from the
ontological rather than the teleological side. Ascetics represent
the latter. The inter-subjective and trans-physical relationship on a
homogeneous basis should be kept in mind in order to appreciate
the contrast involving the two sets of value appreciations under
reference here.



The above figure taken together with the comments will suffice
for a structural analysis of the content and purpose of this
verse. In an over-all form the intention of the author is to say
that celestial maidens, being vertical minus in status, understand
the value of the Goddess by direct participation, which the
ascetics can only attain indirectly.

SLG1 - P78

Even a very old man, incapable of any love affairs, if the Devi's
glance has fallen upon him, all of the hundreds of dancing girls
will fall in love with him, with their hair hanging down and their
clothes neglected, their girdles bursting.
In schematic language, this verse wants to say that the Devi, with a
side glance....maidens on her negative side. Then there is an old
pundit, very intelligent. He is able to describe the beauty of the
Devi, because of the side-glance.
(He need not have had the full glance - thus fully absolutist, like Shiva.)
He wants to say that the whole of nature is constituted of a bi-polarity
between the mathematical function and the real, female function.
(They are in hundreds, because the quantity is unimportant.)
SLG1 - P78


Mainly a woman's body is constituted to nourish
A) a foetus
B) a baby.
Women still want the mathematical counterpart.
They fall in love with some intelligent principle.
They forget to fix their hair and they forget to cover their breasts.
It is like a flash of lightning - something bursting.
SLG1 - P79
Absolute Beauty becomes absolute to the extent that it is not physical.
Then, the disparity in age between the young girls and the very old man
means that the relationship is pure.
(See Rousseau's "Nouvelle Heloise" where the rich, noble lady
comes running to the tutor.)
How to represent this in the scenario?
First, take care of Rousseau on the screen.
So, hundreds of young girls have their breasts exposed by the
movement of their saris, their hair dishevelled and their waist-bands
bursting, coming in contact with an old man (a log of wood)
who has been glanced at sideways by the Devi. Here the Omega and
Alpha points are attracting one another.
VERSE 14 - all of the chakras are passed in review.
VERSE 15 - shows numerator and denominator values.
VERSE 16 - effect on the lotus-like mind of poets.
Absolute Beauty is not physical, yet it is overwhelming in its
appeal, transcending sex.
An old, dry man will become attractive to young women - on the
condition that he represents some absolute value within himself.
Then there is a breaking of waist bands and corsets,
Suddenly there is an element of surprise in Absolute Beauty.
The women have abandoned themselves here, forgetting all conventional modesty.

SLG1 - P80


- Towards a man overaged
- Uninteresting to the view
- Inert in respect of sportive ways
- Falling within your regard (in the scope of your regard)
- Follow running
- In hundreds
- Young damsels
- With dishevelled hair
- The pot-like breasts exposed by blown-off clothes
- With their silk garments in neglect

On the objective side, physical beauty is a negligible factor.
By the reflected beauty of the Devi, he is made attractive to women.


This is a question of opposites.

SLG1 - P81

Compare part of the previous verse: here the numerator is stressed.
1) Inner and outer aspects of beauty.
2) Inner beauty is richer than outer beauty.
3) Many denominator beauties are needed to equal one inner beauty
of the numerator.
4) A sudden lightning flash of beauty.
5) Bursting shows the Absolute aspect of love.


1) Show suddenly love at first sight - some girls fall in love
with the ugly tutor. (See Rousseau's "Nouvelle Heloise".)

SLG1 - P82


Omega Point involving rays and numbers.
- in earth
- 56
- 52
- in water
- in fire
- 62
- 54
- in air
- in the sky
- 72
- in the mind
- thus 64 indeed
- rays (mayuhah)
- even above those
- your
- pair of feet (are placed)


This is a numerator schema because it deals with numbers rather
than with visible things.
Each number is divisible by 2, which shows bilateral symmetry and an ambivalence.
Ascent from earth to fire, descent from mind to air.
The resultant 360 gives a total structure, or a structural whole.
The total 360 is four right angles.
The same 360 will also be found in the vertical axis.
The feet can be put at three points.
Here, it is the Absolute seen as an Omega point structure.
A universal elsewhere is implied in the rays of light.
Sankara is confident of his ability (see later verse) because he knows he is using a structure which meets his descriptions.
Note - "sky" and "ether" are the same word in Sanskrit.
This structure is akin to Pythagoras' tetraktys)

SLG1 - P84


The earth element, Muladhara, 56,
In water there are 52, Manipura,
Svadhisthana, in fire , 62, Anahata, in air 54,
The 72 of ether, Visuddhi, the 64 of the mind, Ajna;
Thy feet are far beyond, (above) the rays of these.

Instead of saying that she is sporting with Her Lord, the attempt here is to grade all of the chakras with numbers - 56 to 74 and then renormalised to 62.
(These are supposed to correspond to letters of the alphabet.)
1) Girls are able to appreciate the Absolute - V13
2) Feet placed in the Bindhusthana - normalised - think of the feet there in a kind of bright moonlight.
This is a very tricky use of numeralisation and schemas.
It is a renormalisation from the previous verse.
At the central Bindhusthana there is an active principle.
The Numerator is an idea, but the Universal Concrete goes at the bottom.
The burning of the candle is in the middle - at the meeting of the
idea and the concrete.

SLG1 - P85

The generalised candle gets its power to burn from Shiva and
Its substance from the Devi.
The nominal candle is at the Omega Point.
The actual candle burns a single man at a time and a place.
(It can be verticalized by abstraction and generalisation)
A verticalized candle is its reflection;
the physical candle is at the Alpha point.

At the core of your being something is changing (burning) at
every moment. This is the universal concrete man who is eating
Devi - the idea is to provide the numerator to balance the Devi's
Narayana Guru talks of Numerator and Denominator, front and back
mirrors - everything is a reflection except Brahman.
He reduces, categorises, schematises, abstracts, and generalises.
Finally you become That; That becomes This.
The world is you, you are the world.
Experience that is inside, and the world that is outside.
When these tally, you have achieved Brahmavidya.
Place yourself at the inside.
The ferryman counts ten people, then crosses over, then counts
nine, and says: "one must be dead". It was himself. (similarly with the number of the chakras).
You can say it (what you see and what you are) but they must tally.
There must be an apperception.
The Darsana Mala contains the essence of Vedanta, it is all there.

SLG1 - P86

Earth - Muladhara - 56
Water - Manipura - 52
Fire - Svadhisthana - 62
Air - Anahata - 54
Ether - Vishuddhi - 72
Mind - Ajna - 64
And the two feet beyond these rays in the Bindhusthana.

Which epistemology allows you to include Mind as a cosmological factor, among the list of elementals?
Mind is included as an universal concrete reference point.
Here the mind is put at the top, descending and interpenetrating matter,
(with earth at the bottom).
They must not be considered as separate or distinct.(Like a blue lotus: the blueness and the lotus are not to be separated.)
Note: the total number equals 360.
Also the elementals may be construed or seen as two sets - one for the Devi, one for Shiva.
Sankara multiplies the Tattvas, etc., by two - because there is duplication.
But a duplication of what? This will be taken up in the next lesson.

SLG1 - P87

Even Socrates could not manage to include the mind in the same
schema with the earth. "I cannot philosophise with mud" (like the
So the two legs of the Devi are reciprocal. We can allow
Sankara to normalise upward - putting the legs (feet) at the top
instead of the middle..
The Devi is also a nourishing principle - there is a baby inside (denominator) as well as outside (numerator).
The two feet, vertically, come one from above and one from below.
The key word is "rays".
Peripherally they are very colourful, not so colourful at the centre.
The letters of the alphabet finally represent the wisdom of the Vedas.
So the letters are placed in the schema, as the bursting of the Devi
- the vehicles of wisdom.
All of the numbers are duplications.
See the multiplication of VERSE 9. That is the Absolute staring at you.
How do you explain this symmetry, both mathematical and logarithmic?
So these numbers must be seen in terms of duplication.

SLG1 - P88

VERSE 14 and VERSE 9 (relating to numerology)
The most important point in this verse is that she is breaking through the chakras.
"Sporting with Her Lord" means that they are equal, that they are
participating, and absorb one another.
What about the lower stages? Duality cannot be admitted.
See Gautama, Kanada, Kapila, Jaimini, Patanjali and Jaimini.
The Axiology, epistemology and methodology which unites these six
Rishis (wise men) was known to Sankara and further elucidated by Narayana, then expanded by Nataraja in "The Science of the Absolute".


This sequence is the relative way to see the ascending relationship:
the intermediary stages should be seen.
What is not clear is how they could meet and sport together.

SLG1 - P88

There are now numerological and alphabetical implications.
(The vowels are close to the centre, the consonants are horizontal.)
There are certain words which are used often in the Mantra diagrams.
So letters are taken and graded structurally - a finalisation of the thought-word to reveal the Absolute in terms of the Devi, both abstract and concrete: her peripheral aspects (in the Tantra).
The Tantris say that the sounds can be correlated with the colour solid. Newton, Steiner and Goethe all had colour schemes.
"Unless people can prove to me that colour is not real....etc"
Colour is a Universal Concrete.
Why should the rainbow be an illusion? c.f. Bergson.
(Light, line and colour, these are the elements of a painting. (See Ruskin.)

SLG1 - P90

The infinite elsewhere and the infinite here and now.
The two feet of the Goddess (VERSE 9) come one from above and the other from below.
In VERSE 14, all the numbers are divisible by two.
The mayuhas are greater on the Numerator side.
But these numbers are not strict. Different parts of the Upanishads give different numbers. Sankara here is not able to decide on the finalised numbers. (But he is a prodigy, he knows every nook and cranny of the Upanishads.)
After three days meditation on VERSE 14, the Guru has founds some errors in his structuralism. (See Eddington, P57.)
This is manifestation from the conceptual side with the six chakras or mayuhas.
You can fix the Bindhusthana where you like - it can be pushed up to the top. The two feet occupy the centre in any case.
The feet can represent proto- or meta-linguistics.
You can combine the two aspects and arrive at a description of Absolute Beauty.
(Example of the amethyst quartz crystal; smoky on the bottom,
but there is no difference in the beauty of the top or the bottom.)
In the mystical language handed down from Sankara and Kalidasa,
the touch of the Absolute is often given a slight blue or black colour.
In this verse the Devi is lifted to the utmost white-light principle.
The Gita speaks of this light which puts out other lights.
(Eddington and Oppenheimer saw it when at supernovae.)

SLG1 - P91

As regards these numbers, the numerator side is always greater than the denominator.
Narayana says that the experience must be there, then the speculation can coincide with it
Something is burning inside you - something warm and bright which transforms the elementals into concepts - Manas - mind.
These numbers need not trouble us. Put the table of VERSE 9, and examine the symmetry.
(VERSES (?)) : 9, 18, 27, 36, 45, 54, 63, 72, 81, 90.

SLG1 - P92

Conceptual and perceptual entities are here brought together:
honey, milk, etc., approximating to the numerator aspect of Shiva.
(The Devi wears Shiva's ornaments)
The existential satisfactions coming from the three foods are on
the denominator side.
The crescent is above the Himalayas,
Ganesha is to the left, and Subrahmanya to the right.
The crescent moon is above; there is a dangerous middle ground of forest; then the Devi at the Alpha point. Numerator and denominator cancel.
How could anyone who has once at least seen this vision ever miss tasting the absolute value of these words which describe the Absolute?
(The question is: "Why should the words of a man who has seen this vision not have the sweetness and pleasure of honey, milk and grape-juice?")
The book is numerator, the rosary is denominator;
if you think something right, she will pull you towards her.
The beads are for Herself, for Her introverted meditation.
The book is positive, like the Vedas.
The space between the beads and the book, between ontology (atman)
and concept (Mimamsa) must be filled (eliminated) by the disciple
in his meditation.

SLG1 - P93

Reference by commentator (?)
In the ocean of beauty, with eight arms and three eyes -
four above and four below - as a reflection.
Monomarks - marks which give you the function of certain elements in a mathematical function (equation).
These eight arms (in the example verse from the Malayalam edition)
have the function of monomarks.
A blueprint is a conceptual entity, the house built from it is real,
but depends on the blueprint and its inclusive data.
Exponential mathematics gives you Pythagorean distances
> trigonometry >logarithms > differential calculus.
Eddington first created "E numbers". Fact verified calculation.
Calculate first, verify later.
How eight monomarks? Because there are eight functions.

SLG1 - P93

Concepts - Percepts,
Future - Past
Matter participates in mind, mind in matter.

They participate at the interstices - the hub.
SLG1 - P94

Subsistential and existential values have to belong together in the same Absolute.
This verse clearly indicates a numerator Saraswati, with crystal-clear (colourless) beads or rosary. Everything about her is white.
This is the Vedic Saraswati - sattva - a pure, numerator factor.
But to this Sankara wants to add something ontologically real - a denominator factor - milk, honey and the essence of grapes: this is the Dravidian touch.
The point here is that the numerator is valueless without the introduction of the denominator factor.



- Brilliantly clear as the rays of the autumnal moon
- Wearing crown of matted hair, having crescent
- Having hands bearing the boon-bestowing or refuge-giving gestures, rosary of crystal-clear gems and book
- Once
- Having adored that
- You should not be
- In whatsoever manner might be that good men
- Should come to have the pleasing sweetness
- Of honey, milk and grapes
- The array of words

If he knows the Numerator value, to that extent, somehow or other -
he will have the eloquence of flow of words of the sweetness of honey, milk and grapes.
One is the corollary of the other. One implies the other.
One side is the Vedas, one side is experience.
The crescent moon refers to lordship or kingship of the Himalayas,
and of Shiva.
This is the "idea of the holy" - the mysterious.
The Himalayas are like crowns and the crescent moon is particularly
beautiful here.
Saraswati is described here with some of the attributes of Shiva.
What is the value of numerator music to a man who is starving?
She holds a book and rosary, for she is alternately reading and meditating. The other two hands are in the gestures of protection or boon-bestowal.
Any man who adores a two-sided goddess of this type, will somehow or other succeed in having within his reach those words which are like honey, milk or grapes.
If you know the numerator side of Absolute Beauty, the Denominator comes by itself.
In the domain of the word there are the conceptual and the experiential sides. Why should he who knows the numerator value also have the denominator value?
The array of words would have the pleasing sweetness of honey, milk and grapes...
There are two sides which meet in any certitude.

SLG1 - P96

Additional notes on VERSE 15

Value - the gift of sweetness is as good as successful poetry.
Poetry - the art of arranging phraseology.
The presiding deity of the Word (who grants word-power to great poets)
is Saraswati - who is the same as Kali, as understood in the more natural proto-Aryan setting.
Kali is the negative or mute aspect of the Absolute Feminine
Principle, and the mute Bhadra Kali belongs to the negative aspect of the Word.
In the Vedic context, she transcends the horizontal axis and emerges on the numerator side as Saraswati, the benediction and the source of the four Vedas.
Kali, thus upgraded, carries a book, representing the Vedic world.
The first half of this verse refers to the presiding deity of the Word.
Even the beads of the rosary are represented as of a crystalline,
colourless quality.
She is often seen in white, seated on a white lotus, with a vina (stringed instrument).
The two remaining heads are represented as showing gestures of protection and boon-bestowing, with a reciprocity of attraction and repulsion implied. This gesture is called Abhaya, protection; it indicates no alternative but surrender for the devotee.
The image of the Goddess occupies only the numerator aspect here,
per Sankara.
The poets should have not only the concepts, but also the perceptual counterparts, in the form of enjoyable inner experiences.
The creative urge is to be presupposed as a counterpart to the facility with words: thus an alternation between the two cancel out, yielding the overwhelming beauty of the Absolute.
He who sees this principle at once gets the right to be an absolutely gifted poet: whatever he writes will hit the target in the centre.
There is only good and bad poetry.
The poet who has once had this experience - tantamount to prostrating to the Goddess - can make great poetry.

SLG1 - P97

The array of words would be awaiting the poet's command to fall into order.
But not every Goddess can grant this gift - there are secret indications here - - the crescent moon and the crown of matted hair.
This is the secret: the drop-out touch, the absolutist, Vedantic
revaluation; the austerity and renunciation of Shiva, rising above all conventional life.
The crescent moon has a thin, logical status: to signify that
She is as generalised and abstract as Shiva himself, representing his own value at the Omega point.
There is no actual Saraswati to worship: she is an abstracted and generalised principle of the Omega point.
As against this numerator aspect, above the line, think of examples
of ontological experiences: like Krishna saying "I am the sapidity of water" in the Gita - it is a perceptual image raised to the status of the Absolute. Similarly, Sankara here uses honey, milk and grapes to cover by representation all other perceptual enjoyments: touch, etc.
The teaching is that numerator and denominator factors must cancel out; representing two great ensembles: name and form (perceived), of equal epistemological status, so as to be cancelled out mutually into the resultant Absolute Beauty in poetry.
The book held by Saraswati: the world of poetry is intended here.
Also the legend that Kali wrote the secret syllable on the tongue of Kalidasa: Sankara's treatment is reminiscent of this legend.
SOURCE G2, a continuation of G1, manuscript, in Curran de Bruler's hand, erroneously dated "18-10-68", obviously intended to be "69"

P1 to P84 - V17 to V30

(Editor's note: Verse 16 is absent from the original manuscript)

P1- Verse 17

P12- Verse 18

P15- Verse 17

P19- Verse18

P21- Verse 19

P25- Verse 20

P32- Verse 21

P34- Verse 22

P39- Verse 23

P47- Verse 24

P52- Verse 25

P58- Verse 26

P64- Verse 27

P68- Verse 28

P74- Verse 29

P80- Verse 30



Sankara takes into his scope the whole of cosmology, this is a grand purview:
This verse shows:

the aspect which gives birth to the world (broken moonstone),

and the principle from which the world originates, (moonstone with a fluid gleam)

that is: the noun is existent,
the predicate is subsistent.

The object is: the poet who wants to be grandiose must think of both the Devi´s Numerator and her Denominator (cut moonstone).
It is cut, because even when cut, the moonstone has the same brightness, by the principle of refraction.
There is a spot on the moon which does not spoil its beauty but only enhances it.
If Kalidasa's Shakuntala wears an un-beautiful sari, it only sets off her beauty even more.
This means that the negative side is also necessary to the totality of Absolute Beauty.
You should not always ask for Numerator values, Her absolute beauty consists of both Numerator and Denominator.
So, Aphrodite has both a Numerator and a Denominator form.
The Numerator will encourage Brahmacharis,
The Denominator will have lots of children.

SLG2 - P2

Three Kalis
(The "Three Dolorosas" of De Quincey's "Confessions of an Opium Eater".

One Dolorosa cries at the bedside of a dying man.
One enters with a key and tells You to commit suicide.
One kicks in the door and drives You mad.

Diana was glad that her disciple Hippolitus kept his chastity, but Aphrodite wanted him to yield and made him fall down and break his head. (This is the tragedy in which the wife of the king kills herself).

The Devi here is to be known in two aspects:
Savitri: the Mother who gives birth to the universe
Vashini: the Numerator aspect of the Devi (Diana).

Reflection, Refraction and Defraction: these three phenomena of light are explained by Schroedinger.
He says that the "appearance" of matter is due to the defraction of light.
This means that the diamonds in an earring will glow as one diamond.
The beard of the Prince of Wales glows as one light, not as individual hairs.
The diffracted glory of the Devi, this means that even when You cut the moonstone, it shines as one entity.
The most masterly similes in poetry are used by Kalidasa, Sankara continues this same tradition.

SLG2 - P3

There must be glowing pieces of moonstone, which glow as one body, because of defraction.
Then, on the Numerator side are the Vashinis, with different-coloured lights.
He who can reconstruct Absolute Beauty in these terms, becomes a poet,
the author of Mahakavyas (great poetry), beginning with grandiose Creation, so vague and sublime, encompassing the Absolute.

He is saying:
"Reconstructing You, the Devi, in terms of these two principles, secondary to Your absolute status.
He who can reconstruct You together with Your component parts, he becomes a true poet."

Secondary component parts of the Numerator and Denominator have to be integrated around the face of the Goddess, located in the Bindhusthana (central locus).

Vashinis are predicative - the Logos; the Numerator aspect of the substantive Devi, like cut moonstone.

SLG2 - P4


Vashini and others are supposed to preside over the eight vowels.
The vowels can have various colours - crystal, coral or smoky, ranging from vermilion to yellow, including gold.
There is something intriguing in the Malayalam edition of the Saundarya Lahari: the pundit quotes some other books, Subhagodram (?)) and the Vashinis are mentioned, as well as two kinds of ancient Shakti worshippers, one respectable, the other not.
There is one Kavya (poem) for each of the 14 days of the moon;
two are left over, which must be put in the Bindhusthana, making 16.
A semiotic process follows: Mashinta (?) in the Muladhara Chakra.


These are the four sounds in Sanskrit, with their corresponding loci.
"I feel confident that my hopes to retrieve and salvage this knowledge are worthwhile. Today, because of this verse, I feel confident again."
From different texts, it shows structurally how Shiva and Shakti can come and cancel from opposite poles. The pundits knew this.

SLG2 - P5

"That means that the ancients too knew this discovery.
I am overpowered by this discovery and am about to go mad. Curran is also going mad. Why? Because his Guru is mad. So, this proto-language can save the world. I feel confident that my attempt to salvage this work of Sankara is not in vain. This is the main point of to-day's lesson.
The two feet of the Goddess: ONE IS VERTICAL, ONE HORIZONTAL.
This I can see clearly - and it is of the utmost importance.
This verse contains very clear indications (in the commentary of the pundits)."

structure-slg2-p5-v17a 2

In these 44 Chakras , reference is made to the letters.

SLG2 - P6

structure-slg2-p6-v17 2

This is their version of structuralism, they were not aware of conics.
The sun's aspects are dovetailed into the moon's (14+2)

structure-slg2-p6-v17a 2

There are 16 names which correspond to each of these points on the axis.
14 and 14 for each of the two fortnights.
There are 8 Vashinis, with Kaulini as the extreme negative and 12 Vashinis as the positive factors.
"Vashini" means "to attract" and "Kaulini" is the bottomless pit.
Yoginis (female yogis)do not attract, they will throw stones at the hippies.
Why 12 and 8 ? They can be revalued as 10 and 10.
Why letters? Because it is through them that things come into meaning.

SLG2 - P7


What precedes is the structural analysis of some Pundit who is trying to explain the import of VERSE 17.
A woman must be broken from contact with the Bhu (earth): that is, the base-line of the diagram.
All this attraction of women, pulling down men, is called Vashini (?Ed.).
Electric current is always 16 (?10) times stronger than its magnetism.
It is an exponential or logarithmic relationship.
Actually, the Yoginis and Vashinis all go on the negative side:
the Yoginis on the left, as virtual and the Vashinis on the right, as actual.

SLG2 - P8

Integration of semantic and semiotic processes.


- That which gives birth to words (Savitri), Shining like bursting moonstone
- With divinities such as those called Vashinis (like rubies)
- As united together with You
- O Mother
- He who thinks integratedly (i.e. contemplatively)
- He
- The author of poetry becomes
- Of great
- Pleasing because of liquid or fluid beauty
- By means of words
- Of pleasing sweetness belonging to the lotus face of the Word Goddess

One process - semiotic - is fluid like moonstone.
The other - semantic - process is like bursting into meaning.
The man who can put these together can write poetry adding to the beauty of the Goddess of the Word (Vak Devi).
Here we have rubies and diamonds integrated into one whole.
This refers to.........., a particular style of Malayalam poetry, meaning diamonds and rubies. (?Ed.)

SLG2 - P9


structure-slg2-p9-v17a 2

This represents various sets of elements - Vashinis and Vak Devatas,
a lotus mouth, with a fragrance and Savitri, the generator of words, giving birth.

One set of elements, Savitri, is the generator of words and is Denominator; an actual thing giving birth to words.
The Vashinis are Numerator.

SLG2 - P9


- (That which gives) giving birth to words (Savitri).
- Shining like bursting moonstone (scintillating)
- With divinities such as those called Vashinis.
- As united together with You
- O, Mother
- He who thinks integratedly (i.e. contemplatively)
- He
- The author of poetry becomes
- Of great
- Pleasing because of liquid or fluid beauty (i.e. the words)
- By means of words
- Of pleasing sweetness belonging to the lotus face of the Word

structure-slg2-p9-v17b 2.

Anyone who can put together Savitri and Vashini will be adding something by his poetry to the face of Vak Devi, the Goddess of the Word.
The circle is the face of the Devi; then there are the generating and the conceptual tendencies - and these give his words a sinuous, tricky quality.

SLG2 - P10

Sankara is excusing himself for the sinuous method which he has to use in order to describe the elusive beauty of the Devi.
He says there are two kinds of beauty. Sankara says something delicate and elusive.

It is a vertical beauty. A diamond bursting into light, breaking through.
A man who can weave together both of these aspects of Beauty will succeed in describing it.
His poetry will have an excellence by which it will do justice to Absolute Beauty.
Gems of different kinds have to be intermixed and integrated, not placed in the Numerator and Denominator as before stated.
Pundits used to get all involved in the sounds of words.
Sankara puts together word and meaning - semiotic processes.
The picture is of glowing gems and scintillating gems together.
Two sets of semantic factors which must be put together - then great poetry emerges.
There is a bursting light and a streaming light - they are put together.
Take diamonds and rubies and put them alternately together.

Horizontal = bursting
Vertical = streaming
They belong together and have to be treated together and then Vak Devi will emerge.

It is purposely left vague.

SLG2 - P11

This deals with the integration of word and meaning.
They belong together, like diamonds and rubies.
The man who contemplates this way will be the author of great poetry
- doing justice to the face of Vak Devi.
Just take the line out of the diagram (?).
An absolute Vak Devi is in question here: the integration of word and meaning.

SLG2 - P12


The heavenly maidens participate in heavenly light and thus exert an attraction.
When meditated upon by an intelligent man, the principle of Absolute Beauty cancels out as a Denominator.
A man who can think of the Devi as magenta colour - which absorbs all of reality - is the man who loses nothing: he is interesting to the heavenly maidens, whose eyes are as beautiful as those of startled deer.
These heavenly maidens will not look at most men, but when they see the Numerator of the man who can meditate properly on the Devi, the absolute point of speculation; then the Denominator is cancelled out: he has arrived at the term of his speculative philosophy.
But it is only the vulgar who take this seriously; it should be put into a schema and then forgotten.
The Vedantin asks for heaven and earth together: they must cancel out and merge into the Absolute.
How many, how many will not fall for him who is able to view the Devi as in a shadow and of magenta colour?
On one side, within heaven, are the beautiful damsels.
The idea of beautiful girls to embrace in heaven is a sublimation of sexual desire.
structure-slg2-p13-v18 2




/structure-slg2-p13-v18a 2


This structure is superimposed on the relativistic one seen above.
A Vedantin's meditation is centred in the Bindhusthana, or central locus, which is a shadow
in which all is effaced by the magenta colour which he sees.
The meditation of Indra is here sublimated and far surpassed.
He is merged in the magenta colour.
You would have to put thousands of these heavenly maidens in the picture, all of them chasing after him.
The relativistic picture of heaven is superseded by this absolutist picture, where beauty comes in waves from the centre to both sides.
This is infinite Beauty, the other is relativistic.

SLG2 - P14

(illegible note on top of page "....for incompetence of pundits")
The radical note is what gives Vedanta its flavour.
"How many, how many..." means that You can have as many maidens as you like: it is not as good as the absolutist's meditation.
Colour is a universal concrete - both within and without you.
Magenta is the neutral colour - the blue of the sky and red of the earth.
Hills and mountains are all effaced by waves of magenta colour.
Then the meditating yogi falls down overwhelmed by Absolute Beauty
- while Indra is still looking at some heavenly maidens.
There are few people in this world who realise the importance of Aruna - magenta.

SLG2 - P15

Notes on the incompetence of pundits to interpret Sankara.


Vashini - Why freshly cut moonstone?
Because there is a reflection and refraction there.
Jainas and Muslims penetrated South India, the latter ruling for some 500 years.
Spirituality was thus put into the melting pot from Hyderabad southwards.
In Kerala, the Nambudri Brahmins found Kerala women with their paddy fields, coconuts and fish.
They left many children. Kerala was full of pirates.
This explains why there are so many fair Malayalis who know Sanskrit.
They are descendants of Moguls and North Indians.
Sankara thus says:" I am a dravida sishyu (Dravidian child) and a vidyarthi (wisdom-seeker)." Narayana Guru comes into this category.
Many of the Acharyas and so-called Rishis (wise men) are descendants of Muslims, who have values close to Jainism.
Raos, Iyyengars and Iyers: these are the three categories of false "pundits"
- not real Brahmins.
"Punyadeshi"(?) is not a great sanskrit book - but degenerate.
Real Vedanta is far, far away from them. All this has to be explained.
Thus, the commentary in the English version is completely off the mark.
"I must condemn and correct these pundits, otherwise I cannot rebuild and re-establish Vedanta in the style of Sankara and Narayana Guru".

SLG2 - P16

This verse contains two layers of structuralism, which are then compared.
The Girvana Ganikas described here are heavenly maidens who study Sanskrit.
All that a man has to do is meditate in a certain way on Absolute Beauty - then he will attract the Ganikas . Indra represents all the values that man can have in service of the earth, the Ganikas are normally only attracted to him.
Sat, Chit, Ananda (existence, subsistence and value) - these comprise Brahman, the Absolute.
There are two moralities: that of the market place and a higher morality. Man should be lifted up out of the market place.
The first step is heavenly values, but this is still relative.
But when he meditates on the Devi - as Aruna, the magenta colour - then "How many, how many Girvana Ganikas will not chase after him?"

Samsara (worldly) values are a relative, alternating figure-eight - action and equal and opposite reaction - while Absolute values are the cancellation of Numerator and Denominator into neutrality.

Absolute Beauty resides in the magenta colour.
If you cannot understand this, do not come to the lessons.
Light and shade merge into the magenta colour.
(In south Kerala, some families had a pundit and thus became Brahmins. The Kshatriyas were warrior classes. There was settlement in Kerala because of the fertile soil.)

SLG2 - P17

Narayana Guru taught that Brahmins were the cleanest priests in the world.
They wash, then recite the Vedas for one hour for one rupee, saying wrong mantras. In spite of all his defects, they are spiritual men.

Sankara took these Vedic values and re-valued them into Vedanta.
"I am a Sannyasin - I have renounced everything and within me I have the beauty of a thousand rising suns".
Sankara arrived at this light through both the Vedas (Saraswati) and his own Vedanta (Advaita).
So two diagrams: Samsara and Bindhusthana.
From the Bindhusthana: (central locus) "Of Your body, the shadow.."
Why shadow (or shade)?
"In the shade of Your (Devi) body, You should merge."
Absolute Beauty comes like the expression of the slender, beautiful deer's eyes when startled.
This is the embodiment of purity, as is the tiger .
The beauty of the deer is often sung by Sanskrit poets.
This beauty has a Denominator element, which is to be equated to the meditating man, who is able to appreciate the shadow of the beauty of the Devi.

SLG2 - P18

There are two equations here and two schemas: Samsara (the relative), and the Absolute,
and within each one is an equation between Numerator and Denominator. Light and shade have to be cancelled in waves of magenta.
"Shadow" because without shadow there is no light.
"Shade" means the slightly negative version of the Absolute.
"You are already in heaven, how can You talk about shadow or shade?" Because there is no Absolute until light and shade cancel out.

SLG2 - P19

If a man is able to submerge the whole world into one magenta colour,
then all the beautiful maidens of heaven are startled like deer in the forest
and are agile and quickly run away.
This is an element like lightning - a wonder.
The Absolute induces wonder. It startles.
The sheer beauty in nature is the Denominator of the beauty which a man feels when he sees the Absolute as magenta colour.


- By the dappled light of dawn belonging to Your body
- The sky enriched with the glory of tender cirrus formation of sky light
- (With) the whole earth
- Immersed in magenta colourfulness
- He who recollects
- For him it happens
- (Maidens) having beautiful wild deer startled eyes
- Inclusive of Urvasi become won-over
- How many, how many may there not be
- Heavenly damsels

On the denominator side- heavenly damsels - with eyes like startled deer.
On the numerator side - a man meditating on the world as magenta.

All of these damsels become won over to the man who has this vision.
The beauty of magenta, which is non-representative, is cancelled against any amount of natural beauty - like the eyes of a startled deer in the forest, the epitome of natural beauty.

SLG2 - P20

structure-slg2-p20-v18 2

Multiply by "n" the pleasures of Indra's heaven ("how many, how many..")
and You get the pleasure of the Vedantin contemplating the sunset,
but the two cancel out like the Numerator gold dollar against the Denominator
small change.
Absolute Value is a concept.
Its equal in terms of relativistic values is an infinite amount of "small change".
An infinite number of relative values (quantitative) becomes an absolute value (qualitative).
"Startled deer"- the element of surprise in the beauty - the streak of lightning - suddenness.
The actual and the ideological come together in the Absolute.
The dappled light of dawn is cancelled out against the dappled skin of a deer,
producing a magenta colour.
The gold dollar is on the Numerator, the small change on the Denominator.

SLG2 - P21


Here imagine an ordinary Kaulin, a follower of an esoteric form of decadent Hinduism involving orgies etc.
("Kulapata" means of the lowest alphabetical (?) origin )
The face I placed in the Bindhusthana (centre) and below that, the breasts,
Below that, actual sex - for meditation.
To the Kaulins, he says: "Yes, You can go into the basement for Your orgies, but where is the value, the philosophy?"
The main purpose of life is salvation, You have to be a mukti kami (seeker for liberation).
There are gradations in value, the highest is salvation or Moksha.

structure-slg2-p21-v19 2

The lower grade of meditation draws only temple girls.

SLG2 - P21

Add this to the previous structure, then they cancel and you get the Absolute.
Sun and Moon: these are supplied as the Numerator side of the meditation,
on the actual and virtual sides of the horizontal axis.
The pundits interpret this verse only in a vulgar way.

SLG2 - P21

On the other hand, the man who can supply the Numerator breasts of the Goddess, (i.e. revalue the Kaula) in terms of the sun and moon - his cosmology is complete.
The translations all seem to say that meditation on the Denominator or Numerator is incidental - that the Denominator is all right without the Numerator.
The ancients were not wrong, but the interpretation is wrong.
Sankara is discarding something as negligible: as soon as it is treated schematically, it leaps into meaning.
The Absolute Value Factor is ineffable - Sat (existence) and Chit (subsistence) are absorbed into Ananda (bliss).
Sankara knew semantics, the advanced aspect of Vedanta
- see the Brahma Sutras.
The Sun and Moon are to be considered as the breasts of the Goddess
- supply them as a Numerator to cancel the Denominator of the Kaulins.

SLG2 - P23


Two-way compensation.
"Compensation" because one side is seen as being inferior to the other;
i.e. supplying the Numerator sun and moon as the breasts of the Devi,
meditatively cancelling out the Denominator Kaulin orgies.
"Know Brahman (the Absolute) and You become Brahman" is the boldest statement in the whole of the Upanishads.
Know Absolute Beauty and the same thing happens.
If you can compensate for the Denominator Maya with the conceptual light of the Numerator, then you have done the trick: "knowledge is power".
Bindu is the objective locus exterior to yourself, for meditation.

SLG2 - P23

structure-slg2-p23-v19 2.

The lower half is the Kaula Matha - that aspect which represents the erotic element.
The man who concentrates on this aspect of the Absolute at once becomes interesting to all women.
But the luminaries of the sky can be supplied by a man and the resultant Goddess is Tri-Loki: (the Goddess of the Three Worlds) at once he will be able to confound the three worlds.
This shows the hierophantic worship of Kaulin orgies.
There are those who gain power over women by concentration on the lower sexual source.
This is Kaula. Sankara corrects it by adding the numerator factor.

SLG2 - P24


- Making the face as the central locus
- The pair of breasts
- Beneath that
- Beneath ( even) that
- Better half of Hara(I.E. a triangle.)
- He who can meditate upon
- O wife of Shiva
- Your erotic aspect
- He without delay
- Cause mental disturbance
- To women
- This is negligible
- Even the One of the Three Worlds
- Quickly confounds
- As having sun and moon as breasts

Supply the Numerator for the Kaulin Denominator
- think of the Cosmic Person filling the whole universe
- then you will have power not merely over ordinary women but over the whole of the Three Worlds.
This verse is a correction of the partial Kaulin perspective.

SLG2 - P25


That person who can think of You in a certain manner, he will be able to cancel out the poison of the serpent and by his look alone and cure even terrible diseases.
The point here is that the Absolute can cancel out all imbalances and discrepancies.

A man in tune with the Absolute has the power, for example, to "cure" hysteria, just with his glance.
"Showering from Your limbs, which are diffusing an ambrosia from the light - which is like a cut moonstone (body).(?)"
How can ambrosia come from light? Because the conceptual and perceptual sides have to be put together. Out of the aggregate of light there arises the sweet taste of nectar.

What seems to be different gradations of quality are not different at the core of the Absolute.
(He is able by his look to do something....)
There is some confusion here as to the intricacies of Sanskrit grammar.
Who or what is referred to as cut moonstone and where to place the fluorescent light?

SLG2 - P26


- (Of the Devi) diffusing (all around)
- From the limbs
- The sweetness of the nectar arising out of the aggregate of limbs
- He who brings Thee to his heart
- (You who) like the form of a moonstone
- He is able to kill the poison of snakes like the Lord of Snakes (the eagle).
- Those afflicted by fever he cures by the streak of flowing nectar

structure-slg2-p26-v20 2

He is meditating and has a fluorescent glow on his body.
"I am like a moonstone and I am reflecting the light of the radiance of the Devi, which is like nectar."
The ambrosial sweetness coming from the light-cluster of the Devi brings to his heart a fluorescent gleam.
Schroedinger: light when falling on certain fibres produces diffraction.
By this light - balance - he can cure imbalance.
(Curran says: the magenta of the Devi, meditated upon as ambrosia, causes the calm light of the cut moonstone to come from the man.)

SLG2 - P27

Anyway, whatever the grammar, the point of his power to heal and to "absorb the poison" is that his balance - in tune with the Absolute - can correct and compensate for imbalance (i.e. disease and poison), merely by his glance; just as the glance of the Guru can calm a hysterical woman, or even "liberate" a disciple.

"The man who is able to bring You, as nectar, into his heart, is able to send the nectar out to those who are suffering from snakebite or fever, merely by his look".
The psyche swings between two poles: fever, snakebite and LSD are at the Alpha Point.

structure-slg2-p27-v20 2

The holograph divides light into two parallels and You have two photographs projected into the same space.
How can this ambrosia come into the heart like a moonstone?
First light comes from the limbs of the Devi, then it is given some taste, which is Denominator, then the synthesis is carried further, bringing it all into the heart, as enjoyable sensation, like a moonstone. It is a diffracted light, diffuse and glowing.

SLG2 - P28

The methodology is faulty when you travel from mythology to mythology.
As if she is made of moonstone, he brings Her by descending dialectics down the vertical axis to his heart, by his philosophical speculation. She is brought as diffracted light (see Schroedinger).
(The Guru talks about myth-making, in the context of various religions in India - i.e. religious factions or cults.)
One story is as good as any other story, so never mind the mythology.
This verse wants to say: when You are down, "blue", at the Alpha point;
You can be helped by the Numerator.
(The doctor will talk to the typhoid patient on the 27th day to see if he wants to live. "No Numerator" means depressed.)
These people need to be consoled. Someone must say: "Never mind Your parents, I am Your best friend; come on now".
Everyone who believes in the Absolute and loves humanity can perform this kind of "magic": it is Absolute Affection.

SLG2 - P29


Here we have the cancellation of particular pairs of opposites.
Think of a moonstone figure of the Goddess, put in the central locus.
You are related to values - think of all of them .
Every word implies a certain value, every percept has its corresponding concept. There is a "real" chair and there is a conceptual chair.
Divide the value worlds into two - filled with values.

structure-slg2-p29-v20 2.


The moonstone figure of the Goddess in your heart is the source of values in the worlds.
There are ramified sets and they all refer to the central value, brought together into your heart or self.
Moonstone combines thinking and substance, you recognise an image of yourself, as of moonstone.
He can abolish the poison of a snake and by his glance he can save a man who is at the 27th day of typhoid. Snakebite is not a poison, but like an electric shock, in most cases.(?) In both cases the Absolutist can provide the confidence necessary for the afflicted person to decide to live. A saint can save people merely by providing encouragement.
The man who is harmonised in this way gets a certain power of the Absolute - this is not an exaggeration.
The Numerator of the bird completely neutralises the poison of the serpent. He becomes a dear disciple, like the cat and the rat, or Nitya and Prasad.

SLG2 - P30

SLG2 - P31


- Showering, radiating, spreading out ramified or fan-wise
- From the limbs
- The ambrosial essences arising out of the ramified sets
- One who can bring You to the heart
- Like unto a moonstone-made icon
- He can neutralise serpent potent power
- Like the king of birds
- By look cures fever patients
- By streak of ambrosia (Absolute kindness)

NOTE : It is not the poison of the snake that is neutralised, but the pride of the snake.
The pride is the thing, there are many proud people who will come to you, and you should know how to counter them.
For example: Narayana Guru and the Aryan pundit - he asked his disciples:
"Is his (Sanskrit) grammar all right?"
The snake represents the potent negative force in opposition to the Numerator force.
The two have to cancel out.
The pride of an absolutist can be great.


The most intricate thing here are the two sets of lotuses.
They must be brought together vertically.
If you are able to structuralize and are a man of wisdom and have no other preoccupying interest - then you will straight away enjoy bliss.
One lotus represents the psychic nerve centres.(The six lotuses(?))
(The Guru talks about structuralism; he is convinced that this verse clinches all that he has said about structuralism: a great instrument of research that will be secretly copied by universities long after Einstein's theory has been forgotten.)
"So I am reading to find out if I am a great philosopher or not"
Two sets of lotuses: the highest is where Shiva and Shakti reside.
Put six lotuses in a vertical series, with Sahasrara, the thousand-petalled lotus above.
A great deal of interest was taken in some pundits by the East India Company and the Theosophical Society in order to find out the customs of the people they intended to rule.
So, do not be guided by the pundits. They are not aware of the final non-duality of the Upanishads. They are comparable to the scholastics of the middle ages who argued about how many angels could dance on the point of a needle.
Here career has coloured scholarship: they cannot produce clear literature.

SLG2 - P32

We have here a normative structure (with a touch of wonder).
This is a normal structural version.
There is a numerator lotus and also a forest of lotuses.
This is a completely normalised version of the structure which Sankara is going to employ throughout the work.
A sudden streak of lightning is the body of the Goddess; this is the vertical axis.
The sun and moon are on the Numerator and fire is in the centre.


- Lightning streak bodied
- Consisting of sun, moon and fire ( as components)
- Seated
- Even above the six lotuses
- Your aspect - perspective - (ensemble
- In the great forest of lotus flowers
- With mind bereft of dross and ignorance
- Great men
- Those who realise experience
- The upsurging billow of supreme delight

"Kala" means an ensemble of things, forming a whole.
There are 64 Kalas enumerated in Monnier-Williams.
All of the elements are put in their perspective.

structure-slg2-p32-v21 2.

She is seated on a whole forest of lotuses, forming an ensemble
- then she is put through a streak of lightning.

SLG2 - P33

Great men with clear minds, free of exterior attractions, who know how to meditate on this, experience supreme delight.
Then, through the vertical axis comes a streak of lightning - a "wonder" - this is the most powerful epithet.

SLG2 - P34


There is a very delicate philosophical touch in this verse.
Otherwise, nothing new has been said.
"Your Numerator value is so great, that the lights which I light in the temple are as nothing. My lights are all relativistic - but Your light is Absolute."

Here, one goes to the Devi with humility, in the presence of the Absolute.
As soon as You can say the words "Bhavani Tvam" ("let me become you.."), at that moment,
(the intentionality implied), the boon is immediately given.
Even if a man simply has the intention to know the Absolute, then he is a superior man.
The point here is that the intention is more than the act.
When you say: "Please be kind to me", before the words are out of your mouth, the boon will be granted.
The Tri-Murtis (3 gods) with their shining crowns, even when waved in honour of the Devi, are not of the same calibre as the devotee who asks for the blessing of the Devi - "Bhavani Tvam" - to become the Devi.

SLG2 - P35

This verse expresses the Vedantic standpoint that the intention is more important than the act.
See the philosophical dictionary and read these definitions ten times.
(See B.A.F. Fuller of the University of California. Uberweg's is the best Dictionary of Philosophy).
There are the three gods of the Vedas with their fabulous crowns.
So the Absolute Devi belongs to a higher order than these.
When You accept many grades of truth, You are hedonistic and relativistic. Their crowns shine very brightly, but are simply included in the Absolute.

SLG2 - P35

When a devotee of the Vedantic context simply begins:
"I, You...", at that moment she says: "Do not say anything more, I have already granted You the greatest boon I have to give".
It is the intentionality which is the most important thing in the Absolute.
The act is not the most important thing.
(See Von Brentano's explanation of intentionality.)

SLG2 - P36

As they are hypostatic, hedonistic and relativistic, the Vedic gods are nothing when compared
to the Devi - their crowns only light up her feet


The most important point is given before the sentence is finished.
This is the difference between relativism and Vedanta.
Vedic ritualism must build up to final point.
The three gods are waving lights with their glorious crowns -
this is a reference to temple worship - not Advaita.
These are the three gods known to Vedic Brahmins.
The lustre of their crowns represents their Numerator value .
But even the lustre of these crowns cannot vie with the beauty of the Devi
- a laser ray of a superior order.
Intentionality - to be devoted to the Absolute is richer than the hedonism and relativism of the Vedas.
One must know where Veda ends and Vedanta begins.

The Vedas are talking of heaven - under the sway of the three Gunas (modalities of Nature.)
Vedanta is concerned with salvation.

The three modalities are: RAJAS, SATTVA, TAMAS:
Vedic luxuries are dull, like sleeping in the morning (tamasic),
or active, like hunting at five o'clock in the morning (rajasic),
the third is like Tennyson writing poems (sattvik).
They are like Brahma, Vishnu and Indra.

This lesson wants to say that all this is nothing and that just the intention to know the truth makes one superior to those who act within the relativistic Vedic context.

Hellenic Knowledge - to know the truth .
Hebraic Knowledge - to see the truth prevail - Ethics, Morality.

SLG2 - P37

So the highest culture is to see the truth and to see it prevail, according to Mathew Arnold.
This is also the Absolute - and the Gita says that even a little taste of this will save you from pain and suffering.
Whether they say it or not, everyone loves Absolute Truth.
So to teach appreciation of Absolute Values is the highest calling and any such teacher will be reputed a great man, even if he remains hidden.
Sankara tells you just the distinction between Vedas and Vedanta and rises above good and evil.
He uses Tantric language, thus rising above the criss-cross divisions of language and custom - and it is these that are the causes of tribalism.
So Sankara is the Numerator value for the Hindus.
He provided a philosophy with a place for the pantheon of Hindu gods.
The verse says that these crowns are lighting the feet of the Devi.
But the devotee is visualising the totality of the situation.
The combined light of the three crowns only serve to light up the feet of the Devi.

structure-slg2-p37-v22 2

Be a votary of the Absolute, all the rest is relative.
Your intention is tantamount to understanding.
Before you even finish the sentence, the full beauty of the Absolute will descend upon you.

SLG2 - P38


The worshipper is worshipped.
Subject and predicate are interchangeable.
"Bhavani Tvam.." = "O Goddess, You.." as well as "Let me become You.."
The whole grace has descended on the worshipper just because of his intentionality and thereby he becomes identified with the Devi.

structure-slg2-p38-v22 2


- O Goddess, You
- On me, Your servant
- Confer
- Gracious regard
- Thus intending to adore when one begins
- Saying. "O Goddess, You..."
- That same moment
- You confer on him
- Your proper unified state
- That state adored by waving of clear ritual lights of the crowns of Vishnu, Brahma and Indra.

Here is the subtle turning of subject into object.
The crowns have diamond tips of light and they bow to the devotee, because he has become the Absolute.
Shakespeare does the same thing in making Shylock a tragic hero
- he is more sinned against than sinning.

SLG2 - P39


The Devi, with the left half of her body, absorbs half of the body of Shiva; then, not content with that, she absorbs what is left.
Then she becomes magenta coloured.
Her breasts are described as being bent in a figure-eight.

SLG2 - P39

structure-slg2-p39-v23 2

The Guru describes the breasts as a figure-eight which is part black and part white and gives a magenta colour when rotated quickly.
("Today I am feeling guilty that there would be changes; that I am putting proto-language into the verses. But it is not so: You have to use it.")
Sankara has used a colourful, schematic language.
So here the Devi has completely absorbed Shiva, She has a crown with a crescent moon, three eyes, is magenta in colour and Her breasts are bent
- but NOT bent by their weight, as the pundits state.

SLG2 - P40


- By thee absorbed
- The left (side) of the body (has been absorbed by You)
- With discontented mind (still unsatisfied)
- Of Shiva, half the body
- Also the other (counterpart) - (something remains)
- I do surmise (or doubt)
- Became also absorbed (she encroaches into the remaining half)
- This which is (given here, this which)
- Your (present, resultant) form
- Of glowing magenta colour / having three eyes
- By the two breasts somewhat recumbent
- Decorated by the bent crescent moon crown
(Bent crescent moon decoration - headgear)

Shiva is eaten up by the Devi because she represents ontology first.
She is real, he is conceptual.
Thus She has the crescent moon, which is the traditional crown or headgear of Shiva, as a final, conceptual, decoration.
It does not matter if Shiva is there at all. Shakti is given primacy over Shiva because ontology is the natural basis: travel from what you know to what you do not know: from Shakti to Shiva
- this is the methodology of Sankara's Vedanta.
The whole of theology in the western world moves between Plato and Aristotle.
See Bergson on the reality of colour and Russell on the relationship between metaphysics and mathematics.
The crescent moon, which is the traditional decoration of Shiva, is the resultant of that form which has absorbed the body of Shiva.
Here the male and female have interpenetrating reciprocity.
Again, we have the cancellable version of Shiva and Shakti.

SLG2 - P41

Sir Edmond Whittaker says that the structure of the universe was in the mind of God before it was created.
Eddington says: "if you put me in a room with paper, I shall predict the next eclipse".
Along with Pythagoras, they recognised the structure and the form which is clinging to it.
So, these men are conceptualists.
James Jeans says that God is a mathematician.
So, theology is coming back to science.
Ethics is derived from a philosophy and that philosophy must be scientific,
i.e. pulling together the world of the observables and the calculables.
These two worlds must be put together into one.
See Socrates, Plato and Aristotle, the Alexandrian school (Plotinus),
the Christian Mystics, the middle ages, Copernicus, Darwin, etc.
(See also Aldous Huxley's "The Perennial Philosophy").

SLG2 - P42

"I want to put order into my thoughts and it was finally Narayana Guru who put me on the track to the Upanishads.
So let the children of the drop-outs start a new movement.
Vedanta is unique because it is ordered and the terms defined.
We just want to put things in order and arrive at a notion of the Absolute.

SLG2 - P43

Yesterday, the crescent moon is bent, now the breasts are also bent.
She encroaches on the body of Shiva.
Virtuality is common (in principle), thus, it is the left side.
Actuality remains - the Devi represents ontological reality, Shiva represents the mathematical implications of the Actual.
She wants to absorb that right half as well.
In so doing, she has to sink into Herself. But she gets the third eye
because she cannot absorb all of the mathematical aspect
without some of it showing: the eye represents the calculable, transcendent Omega point.
She also has his decorative crown, with a thin crescent moon, which is round.
So, the crescent moon is the Bindhusthana.
How are the breasts bent? Because left and right are treated as virtual and actual breasts.
The Devi is encroaching from her existential side, devouring first the left, or virtual side; then the right, or actual side, leaving only the Numerator of the crescent and third eye.
The two breasts cancel out into a Yin - Yang pattern.
There are two references to "bent" - anamram, kutila - he wants a curve
introduced to the crescent. "Somewhat recumbent" suggests bringing it into a circle, thus we arrive at Yin-Yang.

SLG2 - P44

"Am I going beyond the limits of speculation? In Sanskrit literature, you have to be free in your speculations; it is not read like a telephone book. For example: "moon-like face" refers to lustre in Sanskrit and does not mean round or pancake-like.
So, you have to know the Sanskrit classics in order to interpret this in the tradition of Sankara and Kalidasa.
So I am taking the liberty of putting the breasts into a Yin-Yang schema.
You have to be prepared for this through reading other works of Sanskrit literature. Otherwise you will not be able to interpret the verses.

SLG2 - P45


Gradual negation of the negative: construct the positive Absolute by reducing the negative into positive.
The Absolute is androgynous.
Parvati first eats up the left half of Shiva.
Then, not content with this, she devours the right half as well.
Then, bent by the weight of the breasts, she is of Aruna (magenta) colour..
So here, the emphasis is on the negative ontological side.
Integration of plus and minus results in the Absolute.
The bending suggests a figure-eight.
You cannot abolish Shiva completely, the third eye and the crescent remain.
The Alpha point is abolished into a figure-eight.
So this is a double principle of negation and construction.
She begins on the left side because that is easier for Her, after that, She can enter into the positive side.
This is an iconographic ideogram, a kind of protolanguage.
The figure-eight can mount and becomes Aruna when it passes the horizontal axis. Still the third eye is left, as the value of meditation and the crown as the source of the Ganges.
The minus side becomes positive and the magenta colour results.

SLG2 - P46


- Absorbed by You
- The left side of the body
- With mind not fully satisfied
- The half of Shiva's body
- The other counterpart also
- I surmise
- Became absorbed
- By virtue of which
- This (this world)
- Your form
- Having magenta glory
- Third eye
- Bent by breasts
- Having a crescent moon-adorned crown

SLG2 - P46

Not fully satisfied, She goes from the less important to the more important, in a methodological order.
First there is a horizontal reduction from the virtual side
- then from the vertical.
Monomarks of Shiva remain in the third eye and the crescent moon.

structure-slg2-p46-v23 2

She begins eating from the left - the virtual, when she finishes the horizontal axis, then she shines on the negative vertical.
Going from left to right is bilateral symmetry.
Going from top to bottom is transfer symmetry.
The resultant of the cancellation is the magenta colour - since the two bodies have cancelled.
Then, the third eye implies the Devi has become verticalized.
Bent by the weight of breasts:
(See the reference to the waist as so thin as to need to be bound up by Kama Deva with three vines.)
To get to the bottom of this iconic ideogram, we have to abolish the waist into a sinus curve.
Then the crescent and crown are the final aspect of Shiva - it is all the representation he needs - the principle or monomark remains over the whole scheme.

SLG2 - P47


Here the Devi is crying - her eyebrows are vibrating because of the suffering of the universe.
This means that there has to be some compassionate content to the Absolute.
Shiva is just mathematical, with no compassion.

SLG2 - P48


- He creates the world (the god Brahma)
- Hari (Vishnu) saves (it) (sustains it)
- Rudra (Shiva) destroys (it)
- Cancelling this
- Your own body also (Devi's)
- The lord causes to disappear
- Having the word eternal as prefix to it (Sada-Shiva)
(Sada Shiva is different from just Shiva)
- Shiva all these blesses too
- Having respected Your (Devi's) orders
- Momentarily moved
- By creeper (slim) eyebrows

She once moved Her eyebrows and Shiva takes his orders from Her:
She says "Now, You save, that is what I want"
"Thin" because it is a thin mathematical function at the base of Absolute Kindness.
A categorical imperative above all else.

SLG2 - P48

TRANSLATION Brahma creates the world, Vishnu sustains it and Shiva (Rudra)
destroys it. Isa (Sada Shiva) cancels all of this, including his own body, so that nothing is left.
Whatever is left after all these cancellations, Sada Shiva blesses that too, taking orders from the momentary movement of Your creeper-like thin eyebrows,
The blessing of the Absolute is required by the people of the universe.
So the function of blessing goes to Sada Shiva, but the order to bless comes from the beauty of the Goddess in a momentary movement of the eyebrows.
You can bless by a concept, You cannot save by a concept.
We approach a very thin mathematical function; thus the order is given by one movement of the eyebrows.
Epistemologically it is quite correct that She functions only by one movement of the eyebrows (cries).
Shiva sees this and it is tantamount to an order.
This is NOT to be seen in terms of cosmology;
creation, dissolution etc., this is Vedanta, and this is a revaluation.

SLG2 - P49

Positive by double assertion.
The function of horizontalising - Rudra coming to destroy things -
Brahma creates them.


- Brahma creates the world
- Vishnu saves
- Shiva destroys (See VERSE1)
- Inverting (??) this also his own body
- The Lord (Ishah) makes all fade out
- The one with eternity for prefix (Sada purvah)
- All of this state (arrived at by the previous line)
- He bestows benediction upon also / Shiva (normal)
- Resorting to Your mandate
- Instantly vibrating (at great frequency)
- Instantly vibrating (at great frequency)
- Of the twin eyebrow-twigs

Sada Shiva ( the supreme Shiva) has a negative function, all the other three have positive functions.
The trinity is Vedic, but the negative function of Sada Shiva is Vedantic.

structure-slg2-p49-v24 2.

So, he makes everything disappear and also bestows benediction,
because he is beyond good and evil.


Shiva is moved to bless the worlds by the vibration of Her eyebrows.
The three functions belong to the phenomenal aspect.
But percepts can be conceptualised, so the degrees of conceptualisation and perceptualisation in the schemas can vary.
Thus here, we put the three functions in the Denominator to avoid two schemas.
The negative side contains the horizontal principles - the zone of ontological richness - while the Numerator is ontologically indigent and teleologically rich.

(Uberweg's "History of Philosophy" is the best book for basics. B.A.G.Fuller is also good, also Victor Cousins.)

structure-slg2-p50-v24 2

Ontology is horizontal, teleology is vertical and one eats the other, as with Time and Space.
Shiva is at the equator, Sada Shiva at the North Pole.
You can have gods at different conceptual levels.
The Absolute as Paramatma - Sada Shiva - is impersonal.
As Shiva, he is a god - the normal Absolute - and as Isa (Lord), he is concerned with human affairs.
So, Shiva can be placed at several points on the vertical axis.
Burn the seed, so that it can never sprout - that is Sada Shiva.
The eyebrows of the Goddess are at the negative limit
She is the normalising negative limit.
Respect and devotion are due in this order: "God, Guru, Father, Mother,
martyrs to Truth, those who aid justice": these are all the grades
of devotion in this world, as stated in the Darsana Mala of Narayana Guru. Parampara Bhakti - a hierarchy of devotion.

SLG2 - P51

Finally, Sada Shiva causes all of this to disappear, his own body included, and also blesses all.
"Resorting to Your mandate" means looking to the Devi for permission to function. He takes orders from the eyebrows, so that no function occurs unilaterally.
Shiva and the Devi are something in two perspectives, the relation is interchangeable.

structure-slg2-p51-v24 2

Here the value is the same, it is only seen from two perspectives.
Here, no matter how great Shiva becomes, Devi's influence is still there,
as the eyebrows.
This is called reconstructing the Absolute.
Double assertion starts with Shiva,
Double negation starts with the Devi.
By double assertion we attain the Absolute, but there is the slightest bit left over and this is the benefit of Value.
If there is nothing, then there is nothing to write.
But there is something - value - and that is called Brahman.
Value is the irreducible factor at the core of the Absolute.
The point is that the only thing that is left is the horizontal
- the Devi's eyebrows and the vertical Sada Shiva.

SLG2 - P52


"Puja, puja" means that there is a real puja (ritual worship), as opposed to a
relativistic puja: this is the revaluation of the verse.


- O Goddess, consort of Shiva
- The homage (puja) rendered to the three gods
- Who have their origin in Your three Gunas
"These gods of the Numerator side, who have their origin in the Devi's qualities (gunas) are continuously worshipping Your footstool as the real ontological source.
Real puja is that being done by the three gods who are standing by Your pearly footstool, with their hands raised to their crowns in adoration".

The three Gunas are always operative in the Absolute.
The crowns are false - only the footstool (existence, lower even than the feet) is held more important than the three hypostatic crowns.
The totality of the Absolute is represented as existence.
The footstool is more important - it is the square root of minus-one - than the three gods.
Ontological value and beauty of the footstool are emphasised.
"That puja at the stool is puja" and the stress is on existence, rather than subsistence.

SLG2 - P53

structure-slg2-p53-v25 2

SLG2 - P24


- Of the three divinities
- (Who are) born of the three gunas
- Which are Yours
- O Shivé (consort of Shiva)
- Would be the worship (the real worship) (puja, puja)
- The worship
- Of Your twin feet
- That which is applied
- As such indeed
- What takes place near thy pearly footstool
(That puja which is applied to thy feet is indeed the puja)
- Standing as they do indeed
- These three gods eternally
- Their palms joined as final decoration of their crowns

"By the hands of everlasting adoration raised to their crowns, in eternal worship of the footstool of the Devi - recognising their origin there".

The numerator gods are the effect, but they descend to the Denominator in permanent adoration of the existential footstool as the source of their power.
Phenomenology - turns everything upside down and stresses existence rather than essence.
The knobs on the crowns of the three gods worship the footstool of the Devi.
Why not worship the Omega point? No, because that is only a theoretical reference point.
In Vedanta, it is Sat, existence, which is emphasised.
(In the film, something of Kalidasa, the burning of Kama Deva, should be shown - the three gods, then explain all the peculiarities of schematismus - 15 minutes to develop mandalas and chakras.)
(how to make a two-minute film of this verse)
Sankara is not asking You to do puja to the Goddess.
The puja of the three gods is the real puja - standing by Your footstool with their hands fixed on their crowns.
(This is a language based on the Vedic mystical language, you have to understand this if you want to understand these verses.)
They do not put a glorious crown on the head of the Devi - the footstool represents the ontological basis of reality.
This is the point of Vedanta, as revalued in this verse.
In Europe, the language of phenomenology is somewhat similar to this.
Vedanta already has the phenomenological aspect in view.
Revaluation consists of hypostatic gods worshipping the ontological basis found in the footstool.

This verse gives the frame of reference for Vedanta.
Now there are many, many pages to be read.


Participation of Veda and Vedanta - the Conditioned and the Unconditioned.
Again, the three gods, eliminated in the previous verse, reappear.
They are put outside as worshippers of the Goddess.
The phenomenal world is put in the Denominator, doing the puja of the gods to the Numerator Devi. The negative worships the positive.


- Of the three gods
- Born of the three modes - (triguna)
- Yours, O Parvati
- Only that worship would be worship (puja puja)
- Of Your twin feet
- That which is thus performed
- That is so indeed
- Near the pearly footstool bearing Your feet
- Standing as they are indeed
- There eternally
- With hands held worshipfully joined above their crowns

structure-slg2-p56-v25a 2


structure-slg2-p56-v25b 2

They can see the footstool and thus the way they have to worship the Absolute, since they are relativists.
There is participation between the physical, the relative and the conceptual.

SLG2 - P57

The relative is more horizontal than the conceptual, but the two do participate.
They participate through the footstool.
Three gunas (nature-modalities) are hiding in the feet of the Goddess and the three gods are born from these.
The conditioned worships the unconditioned.
This is the proper relationship between the lower and the higher Brahman.

structure-slg2-p57-v25 2.

The overlapping has to be established for the puja to be meaningful.
Through ontology, we can proceed to teleology.
Go from what You know to what You do not.
The point here is that the puja of the Vedic Gods to the Absolute Goddess is the real puja.
This is a revaluation. Vedic teaching reaches the culminating point of Vedanta. Some guru has to teach wisdom to the Vedic Gods.
Vedanta is more than religion or philosophy - it is lifted above them.
First we have to make the most ontological contact with the footstool of the Devi - that is holy enough for You.
Her feet represent an absolute value and the pearly footstool gives an idea of the value of the feet that rest upon it.
The Vedic Gods have got everything except tyaga (renunciation).
They can get it by worship of the footstool.
The highest part of the Vedas tries to catch up with the lowest part of Vedanta.

SLG2 - P58


- Brahma (five-fold) inertness gains
- Vishnu (Hari) attains cessation from passion (or desire)
- Death accomplishes its final (function) extinction
- The God of Wealth goes bankrupt (to his death)
- Even the incessantly active 14 light principles of Indra's
domain (of high Numerator value - the Munis - the fortnight)
- With shut eyes (half asleep - as if drugged)
- In this great time of dissolution
- O chaste one (This is the key line)
- Your Lord alone
- He sports (and is happy - when every phenomenological and
cosmological function is destroyed.)

According to "quintuplication" the five elementals, when mixed together in certain proportions will give all of the things in creation.
The functions of creation cease (in this great time of dissolution) and Vishnu, as pleasure principle, attains to a passionless state.
He too is abolished - as his function is abolished.
The God of Death, Yama (or Shiva) accomplishes his final function.
The God of Wealth goes to his death - i.e. loses his money.
The chastity of the Devi is the key here - She is so true to her husband that when she becomes verticalized (chaste) then all of the horizontal functions disappear.

SLG2 - P59

This verse is an example of psycho-dynamics - the dynamics of the structure are revealed. The structure is universal - sun (Shiva) and water (Devi) cancel out and produce mangoes on a tree.
You have to participate in the structure of something dear to You.
All of the fourteen Manus, who are hypostatic functionaries, close their eyes and go out of commission.

SLG2 - P59

This is not good for them, but it is good for Shiva.
For, when Parvati is completely verticalized at the Alpha point, then he too can become completely vertical.
Even the world of the intelligibles ceases to have these functions - "with shut eyes"
These functionaries of the Vedic context become inoperative.
Here a great period of dissolution has come and Shiva is in charge of destruction - and he is right.
"Only Your husband enjoys all of this - because You o Devi, are chaste; Shiva is happy."
Now Shiva can dance. Shiva's destructive factor involves drawing or absorbing everything into the vertical axis.
(Proto-language is best found in the Saundarya Lahari - Narayana Guru is even more mathematical - more compressed, like a billiard ball. Sankara has not pressed it so hard, it is more loose.)

SLG2 - P60

The key to this verse is why all the gods become functionless.
The inert bones of my hand are ready to move at the command of my mind, which is a theoretical entity. What is the connection between mind as agent and the arm as that which functions?
This means that mind participates in matter; but in what way?
This is a basic question in philosophy.
Here the gods as functionaries are cancelled out in a certain order.
Only with this in mind can you understand why "sati" is the key word.("sati" means "constant" or "chaste" wife.)
There is a vertical axis between Parvati and Shiva.
Shiva is "sporting" while all the gods are cancelled out.
This means he is dancing the dance of Nataraja.
It is for itself, in itself, of itself - it is pure action or transmission
(see Bergson for the difference between transportation and transmission.)
The idea of this verse is to reveal a vertical parameter with the Alpha and Omega points, which exhibits cancellation, complementarity etc.
This chastity represents constancy and thus belongs to the Absolute.

SLG2 - P61

Why does everything go out of commission?
To neutralise everything into the Absolute, to schematise and abstract.
This represents pure (vertical) consciousness.
In this spiritual world of value are all of the Vedic Gods:
Brahma, Vishnu, Death, Wealth and the Munis, and in this order they are all eliminated.
Only the chastity of the Devi at the Alpha point - which is independent
- remains. All functions have been eliminated.
This can be seen as a line of electricity, with an electric bulb at the Alpha point, like the seed at the base of a plant.
Shiva is sporting; in himself, by himself, for himself
- that is, like your mind.
The fires which have been burning in the fourteen worlds of the intelligibles (Munis) have gone out.

Contingency and necessity have cancelled out.
This is where the Vedas end and Vedanta begins.
The movement of the Denominator is horizontal - like transportation
- the Numerator movement is transmission.

Brahma is out of commission, Vishnu is trying to kiss Parvati,
all the lights are going dim, the God of Wealth is going bankrupt,
the pure vertical axis remains, then a light which dims into negativity, with Shiva sporting.
Shiva has to be a Numerator - a flame has to burn all the brighter if it is the Numerator aspect of chastity.
The functional aspects of the Alpha and Omega are clarified here;
so Alpha and Omega do not cancel.

SLG2 - P62


This is a verticalisation into the noumenal state within brackets.
Shiva is sporting, when everything else has been destroyed.
This is all due to the Devi's chastity.
The lesser truth is always hidden by the greater truth.
A list of gods is abolished in a certain graded order of values.
The universe is here reduced to noumenal content.
(Expanding universe = red shift,
contracting universe = violet shift.)
Magenta exists in the negative zone between infra-red and ultra-violet.
This is a picture of the great dissolution of the universe and the phenomenal aspects of the universe are demolished in a certain order - from the most horizontal towards the vertical.
The horizontal is demolished from the ontologically rich Alpha point.


- Brahma loses his five-fold expanding function ( Viriñci)
- Vishnu attains disinterestedness ( Hari )
- The God of Death has destruction for his own counterpart
(vertically destroys himself, as an event )
- The Wealth Giver has become bankrupt
- The great Indra is put out of function by dispersion also
- With half-shut eyes (from too much enjoyment)
- In this great act of destruction (or dissolution)
- Sports
- O constant spouse (Sati)
- Your Lord alone

Sati is the key. Without this constancy he would have evaporated long ago.
The secret is in the absolute constancy of the wife.

SLG2 - P63

structure-slg2-p63-v26 2

Shiva gets the privilege of sporting only because of the lower brackets.

SLG2 - P64


In the usual temple there are various acts, signs, pujas etc.
Put a circle around all of these and treat them as a synonymous of worship. The priest can do as he likes - they have no meaning in themselves.
They must be equated to their own Numerator.
Put a circle around all possible actions of temple worship and
equate that totality with its Numerator.
There are various aspects of ritual, they are considered the same.
(The Guru speaks about the pundits, they will not see properly because of vested interests.)
There are here listed six or seven actions which a priest will do in an orthodox Devi temple.(bells, flowers, camphor etc. are involved.)
Treat all of this, circled in its totality, as a Denominator aspect of the noumenal - it means adoration of the Devi.
Do not tell the priest that he is wrong, tell him that you understand it all :
"Of course I believe it all - it is a protolanguage"
Treat it as one bundle of adoration - mark it down in your account book as adoration of the Devi.
The conventional man will say "oh, he left out the fifth motion in the ritual"
- never mind, it just means adoration of the Devi.
All intelligent people can underline this and accept it.
Action is a Denominator, cancel it out with the light of intelligence which is the Numerator aspect of the Absolute.

SLG2 - P65


- Incantations, mutterings
- Gesture (acts) and all
- Making of finger signals
- Ambulation (movement)
- Clockwise circumambulation
- Obligatory rituals such as (what has to do with ) eating.
(By way of fire-sacrifice offering.)
- Prostrations and lying prone (six (?) limbs offered to the Devi
by lying prostrate.)
- Joy, everything (which is experienced in worship)
- Viewed in the context of self-surrender (to the Devi or non-self)
- As synonymous to worship ( they have only linguistic status,
and are synonymous to worship)
- To You let this become ("You" means all wise readers)
- That which manifests from me (by way of my behaviour or attitude)
( Let all wise men understand this puja, not ridicule the man who
does it: he is trying to adore something.

This is the highest point to which culture can attain.
Let it have this meaning and no other, to all wise men.
That which by itself has shone from me - take it as one total monomark, cancelling out with the Numerator factor.
This all in adoration of the Absolute.

SLG2 - P66

Culture cannot go any farther than in this verse.
When examined critically, in the light of Philosophy, this verse still stands.
That which has emanated as light out of me - this is the Denominator.
The understanding is the Numerator.
These have been beautifully brought together.
This is also an equation between the Self and the Non-Self.
"This dry world of convention is a dead world of Pharisees! Who wants that?" (This with regard to pundits who interpret these verses conventionally. "I hate that" - the Guru.)

"Beware of 1) Those who talk too much.
2) Those who put religious marks all over their bodies.
3) Women who peek out of their saris." - Ramakrishna

Not that he has done this act consciously:
"when I stand in worship of the Absolute, treat my actions as the only language I am capable of using to adore the Absolute".

SLG2 - P67


Worship as integration of the Self with the Non-Self.
Sankara treats the whole of ritual, puts a circle around it and treats it as the Non-Self of the Devi - as Her counterpart.

structure-slg2-p67-v27 2.

The intention is to establish a link or equation
between the Self and the Non-Self - the aim of all prayer.
The equation is reversible and cancellable, leaving only the Absolute.
A man does ritual worship of many kinds, with many actions
- it is all to establish the link between the Self and the Non-Self.


- Incantations, mutterings
- Acts of worship and all
- Hand gestures
- Circumambulant ways
- Such as eating, all obligatory ritualistic offering
- Salutation
- Lying down
- Pleasurable experiences
- All
- Under the aspect of self-surrender
- As the equivalent of the worship of You
- Let it be
- Whatsoever emanates from me (shines forth from me)

I am an Advaitic philosopher and I treat this list of actions as a whole, as a synonym for self-surrender.

SLG2 - P68


Even after taking nourishing ambrosia, which keeps the gods from
old age and fear, they have come near to danger; Indra, Brahma and all
- they are subject to destruction - their functions will cease in the alternating creative - destructive phenomenology.
That dangerous poison-like thing - the most dangerous of poisons
- a negative factor.
Shiva takes it, but does not die, for the process of becoming does not cease, even when the peripheral functions are all destroyed.

SLG2 - P68

"The force of becoming for him does not cease and for that very reason - because it did not defeat Shiva: for You also, because You are the principle of motherhood, negative vertical, You are not affected by the flow of time which cannot be reversed".
"O Goddess, the strength of Your sacred thread (which means that You are married to Shiva) is the greatness which allows You to continue, because Shiva cannot be destroyed".
Shiva, here, is seen as the one who swallowed all the poison of the world
Time's arrow cannot be reversed, even scientists admit.
The vertical is like electricity,
the horizontal is like magnetism.

SLG2 - P69

Because the Devi is affiliated to Shiva, She has to continue to function as the counterpart of the Numerator.
There is a very, very thin logic regarding the black thread.
The point here is the sacred thread around Parvati's neck: a perfect example of complementarity and reciprocity.
The strength of the Devi's thread - it cannot be broken - is the greatness which allows Her to continue.
Shiva has not died from the poison: and so, since he exists, Parvati must also continue to exist, because Shiva must have his counterpart in the Absolute.
We can also say that Shiva exists because he has his counterpart in the Devi. Each is necessary to the existence of the other.
The sacred thread is that which ties them together.
The thread around the Devi's neck is the factor which shows that She is
In India, this thread is only broken at the death of the husband - but the "strength" of her thread is such that it is not broken.
The one depends on the other, but the Devi "has" the thread.

SLG2 - P70

This verse has its key in the black thread around the Devi's neck.
"That thread links You nominally with Shiva, Your counterpart":
this is the most important part of the verse,
that is why it is saved until the last line.
Even though taking luxurious numerator food, Brahma, Indra and others are destroyed at the time of dissolution.
Shiva, however, drinks the poison which threatens the universe and has only the blue stripes on his neck as a result.
These lines are like the lines of a spectrum.
Shiva and Parvati represent the vertical version of the universe, with the lines of Shiva's neck being something like the spectrum contained in the white light.
They are beyond good and evil - like Nietzsche.
Shiva here is not a goody-goody drinking nectar, the poison does not defeat him.
His power does not come alone - it is due to Parvati consenting to wear the sacred thread.
"At our very core we are one, it is great for You to be a tragic hero, but how could You do it without my support".
He is powerless without the support of the negative side.
Without the "little correction" of the negative side, he is only dancing like a fool.
He is extolling a principle of the Absolute - a philosophical truth.
Without transcending good and evil, there is no Absolute.

SLG2 - P71


- Manna (nectar) having been eaten - ( Numerator food)
- Countering fear, old age and death by cancellation
(these foods of the Vedic gods make them immortal)
- Attain to ultimate (extreme) danger (all of them are subject to
the ultimate danger of death)
- All inclusively
- Brahma, Indra and others (only Numerator gods of the bright side)
- The bright ones (You have to distinguish the bright gods - Vedic)
- That which is of tragic portent
- Great poison (so powerful in its death-dealing effect)
- One who has imbibed - (Shiva)
- There is no functioning of (mechanistic) time (not pure time)
- To Shiva (he is not in the process of becoming - he is absolute.)
- Because of this (there is no change in him, no becoming,
although he has taken the poison.)
- Therefore, for You, o Mother (potentially, powerful to give birth)
- The greatness of Your sacred thread
"If You do not go to bed and weep over this, then You do not yet
understand this, You are still learning." Guru.

SLG2 - P72


Denominator value - value of square root of minus one.
Shiva is here contrasted to all the other gods; they drink nectar and die,
while he drinks poison and is immortal.
This is due to the marriage thread worn on the Devi's neck, through which she is related to Shiva.
The bottom half of the vertical axis has a great value.

SLG2 - P72


- Even after partaking of ambrosia (nectar)
- Potent against fear, old age and death
- They reach their (respective) doom (s)
- All
- Brahma, Indra and others (Vidhi, Satamakha)
- Gods (the bright ones of the Vedic heaven)
- That terrible
- Super-poison having swallowed
- Time's becoming is not operative
- For Shiva (Shambho)
- Having that as its source (or basic character)
(i.e. the fact that he does not die)
- Yours, o Mother
- The glory of Your marital string

Shiva will not die, because there is a delicate, bracket-like relationship with the Alpha point.
The poison is by double negation absorbed by the body of Shiva.
Shiva has the "no, no" of the negative limit, (neutrons) as well as the "yes, yes" of the positive (electrons).

structure-slg2-p72-v28 2

SLG2 - P73

Just as electrons will evaporate without the neutrons, the structure of the universe has the Devi at the negative point and Shiva at the positive point
- between these two limits we find the value.
Beauty is the value and it will not disappear.
There must be value in existence, even when everything else is abolished, and that value is beauty.
The negative limit is operative mathematically on the positive limit.
This tatanka (marital-string) is the symbol of an agreement in principle of an absolute relation between husband and wife.
The Devas are people who have their tea at four in the afternoon;
the hippies are like Shiva, rolling on the ground.
The process of becoming does not affect Shiva.
The neutron keeps the electron and the proton from evaporating.
Shiva is always ready to abolish himself, but the marriage thread prevents this.
This thread is like Max Planck's "H" - a constant.

SLG2 - P74


This describes the Devi arising from Her seat. Sankara asks Vishnu and Brahma to remove their crowns, because She is "about" to rise on the entry of Shiva.
Why? Because Her crown will strike against the crowns of the rivals: Vishnu and Brahma. (Actually Brahma's is blocking her vision)
"About to rise" : she does not rise, because she is a lady
- but she is about to rise out of respect for her husband.
(See:" The Pageant of Indian History" by Gertrude Emerson S...(?))

SLG2 - P24


- The crown pertaining to Brahma ("the Lotus-Seated")
- Remove in front (remove that first- "in front" of the Devi,
and hiding her glory - and her vision)
- Of (him) who is called Vishnu
- Against the (diamond ) hard crown
- You hurt (Devi is hurting the crown of Vishnu with her own)
- Transcend the crown of Indra (with his erotic preoccupations).
- As these remain in a recumbent posture (the three gods).
- All of a sudden (quickly) (applies to Devi, not Shiva)
- Returning home (Shiva is returning home, in a loin-cloth)
- As You rise in honour of him (suddenly about to rise, these
warnings of Your entourage should be heeded)
- The utterings of Your entourage (or attendants)
- Reigns victorious (these warnings are to be heeded)

SLG2 - P75

The Devi is about to rise, the attendants say that Brahma should remove his crown because he is obstructing the vision of the Devi, or of the entering Shiva; that the crown of Vishnu will be hurt; (by the tenderness of Her feet, She might be hurt; or Her crown of hydrogen flame might melt his crown)
(This is purposely left vague by Sankara, re Vishnu's crown)
Then one of the female attendants says to the Devi that she had better transcend the crown of Indra.
These three things are said by the attendants.
Brahma is to be removed from below, Vishnu (horizontal) is to be avoided as far as "hurt" is concerned. Indra is to be transcended.
Shiva is returning home and as She is about to rise, the attendants give out certain cautions to avoid disasters.
Victory applies to the Beauty of Devi who is about to rise;
and the less significant values of Brahma, the harsh one of Vishnu and the shoddy erotic values of Indra are all to be dealt with:
removed for Brahma,
for Vishnu, looked out for
and transcended for Indra.

structure-slg2-p75-v29 2

SLG2 - P76

You are asked to appreciate a situation in which these instructions are given in order to protect the beauty and dignity of the Devi for the triumph of the Absolute.
Brahma is told to remove his crown, as it is blocking the Devi's view of the front door.
She is warned not to hurt Herself - or the crown of Vishnu; She should avoid the harsh horizontality of Vishnu.
If the Devi has to attain the height of the Absolute, She might rise when Shiva returns:
She should transcend the erotic Indra.
There are three attendants:
1- one who thinks of the frontal view.
2- one who thinks of the value-encrusted view or aspect
3- one who thinks of transcending Indra (the hypostatic counterpart of water)

The Guru finally decided that these warnings of the entourage were general in nature and direction.
It was thus left vague whether the attendants are addressing the three gods, the Devi or neither or both.
Anyway it doesn't matter. The point is that the warnings reign victorious.
Also left vague (purposely?) by Sankara is the question of whether it is Vishnu's crown or the Devi's feet which will be hurt as she rises.
We may assume that both are possible consequences.

SLG2 - P77

To the Guru's mind, this verse seems to be a revaluation of the Vedic context
- subordinating hedonistic gods to the all-inclusive Absolute.
But, not of course, excluding them. For, as we have already seen, the real puja is that puja which thee gods are perpetually doing to the footstool of the Devi. And in this verse, too, we find the line "as these remain in recumbent posture". (?)

SLG2 - P78


Occasionalism, general intention, a phenomenological epoché.
A cross-section view must here be taken of the Devi's throne room.

structure-slg2-p78-v29 2

The Devi is about to rise in honour of Her husband who is about to enter.
Brahma, Vishnu and Indra are notified by the Devi's attendants that something great is about to happen.

Remove these three crowns, which are in the way when the Devi wants to rise. These are three types of holiness which are obstructions to the plus and minus joining together into absolute value.
Absolutism triumphs over the relative values of religion.
This is meant as an occasion, with a general intention.
Shiva is here an abstract principle who will descend on a situation.
She is about to rise and She is to avoid coming in contact with the crowns of three Vedic gods.

The attendants warn of three possible accidents:
Brahma's crown is obstructing the Devi's vision.
She might hurt the hard crown of Vishnu.
Surpass the ordinary crown of Indra.

The intention is on the part of the Devi's retinue - soldiers and ladies.
They are anxious and victorious.
When the Devi and Shiva meet, the absolute triumphs, so it is an important occasion.

SLG2 - P79


- Brahma's crown (pertaining to)
- Remove (withdraw, clear)
- What is in front
- Of he named Vishnu
- Hard crown
- You hurt (Devi will hurt)
- Transcend the crown of Indra
- As they remain recumbent (in respect of the Absolute)
- At that moment
- Of coming home
- On the arrival of Shiva (bhavasya)
- The sayings of Your retinue
- Reign supreme

Purposely vague is who is standing and who is arriving.
This may be a trick of Sankara : bhavasya.
"On Your rising" or "on the arrival of Shiva"
This is the world of intentions - like that of the modern phenomenologists.
All the theological gods are swept away; what is left is an epoché, or mental state.

SLG2- P 80


There is reference here to the devotee being identified with Brahma
Animadi means Siddhis ( such as materialisation, prophecy etc.)
Animadi siddhis refer to the properties of matter: becoming light, becoming heavy, becoming large, small etc..
Vedanta does not concern itself with these.

SLG2 - P24


- From Your own body
- The rays of light
- All the accidental attributes of manifestation of Your body
- At the core
- You are unchanging
- As I myself think, for him, all the powers of Shiva become as straw
- In comparison with the fire that burns everything

The man who can think of this truth :" I am that Goddess"
- when Shiva destroys the world - to this man it is just the waving of camphor lights (the unity of subject and object)
- a lesser light being waved in adoration of the Absolute.
This verse contains the high water mark of speculation.

SLG2 - P80

What remains after the destruction is Yourself.
When this is understood, then the philosopher - king will secure peace for the world.
The philosopher - king is one who wants nothing.

SLG2 - P81

Here, even the beauty of the Devi is cancelled by the descending Omega point of the fire of destruction of Shiva.
This is seen as the waving of puja lights for the man who realises that what is left after this destruction is his own self.
Even Shiva is not as great as you when you understand.
This is the highest water mark. You can abolish Shiva and the Devi.
You are worshipped by the fire of Shiva and Parvati put together.
You understand Brahman and that is all, You become Brahman.


"Teach the truth and want nothing" - this is the greatest thing.
attain to absolute Brahman - You become Brahman.
Even Shiva's attributes are like straw for such a man.
If you are conscious of the trials and sufferings that poor humanity has gone through in the name of religion - then you will always weep when you understand this verse which elevates the human soul to a level higher than that of the gods.
(In Indian Law, a disciple can call himself equal to God.)

SLG2 - P82

The psychic powers are in the rays emanating from the core of the Devi.
The centre is the Devi, the periphery is the siddhis (psychic powers).
These siddhis are abolished as the voltage is increased, like the filament in an electric light-bulb.


- Originating in Your own body
- Of rays
- Of psychic powers such as anima
(smallness, largeness, heaviness, etc. - only considerations coming
from differences of intensity of light.
- Closely waited upon all around (these rays are servants of the
Goddess, waiting around.)
- O eternal, thee
- Always as myself (I place myself inside You, as having the same
- Who imagines (or creatively appraises)
- What wonder (is there?) (rhetorical question)
- For him
- (That) the plenitude of the three-eyed one (Shiva)
- Treating (it) as a piece of straw (as nothing, negligible)
- The great all-consuming fire
- Should perform (or make)
- The ritual act of waving flames

There is an agent of action and all psychic powers and Siddhis are simply a result of rays of light radiating from the core of the Devi (the agent of action).
She is waited upon all around by the rays, which are simply acting as servants for her.
What wonder is there that for him who places himself within You as being of the same soul, he should regard the plenitude of Shiva as a piece of straw?
The great fire of Shiva, resulting from the negative Devi (presiding) uniting with the Numerator of Shiva - is considered by the devotee to be as of straw
- for the devotee is the Absolute and the fire is simply the waving of Puja lights in honour of the devotee himself

He is as great as any god.
No other religion will teach this.
This is the ultimate teaching of Vedanta.
"It is more precious to me than the Taj Mahal"

The Guru speaks of Voltaire on the burning of Lisbon in "Candide":
"Lisbon is in flames: what is so great about Your God?"
- only Rousseau answered.
No theologian in the West has succeeded in explaining why God burned Lisbon.
But here is a real answer to the question.("God is not good, He is goodness"- Newton) (substantive/predicative)
Explaining away evil does not work - it must be cancelled with good and then transcended to the Absolute (God).
The worst aspect of life, represented by Shiva's destruction is here cancelled by beauty and kindness (motherhood) and in the resulting Absolute the devotee must exist.
This is the term of Vedanta: "You are that".
Beyond relativism is the Absolute: anything can happen to the world, not to the Absolute.
The key to high voltage intelligence is renunciation.

SLG2 - P84

Reversed worship - an inter-physical and trans-subjective relationship.
This is again a verse where the worshipper is worshipped.
Instead of the Devi being worshipped, she worships the worshipper.
The lights originate in the Devi (multiplicity and plurality) and are waved as one light in the Numerator.


- Arising out of Your proper body
- By rays
- Such as anima (one of the psychic power series - eight aiswariya siddhis)
- Around You in attendance
- O everlasting one, You
- As I am always (the equation between self and non-self)
- He who (always) contemplates
- What wonder is there (there is no wonder)
- For him
- That full benefit to be derived ( from the worship) of the
Three-Eyed One
- The great fire of doom
- Performs
- The rite of light waving
structure slg2-p84-v30

The Devi represents probabilities, Shiva represents possibilities
- there are 64 of them indicated in this verse.

Continuation of manuscript notes in Curran de Bruler's hand from
SOURCE SLG2, now called SLG3 to facilitate handling on computer.


P1 to P63 - V31 to V41

P1- Verse 31

P8- Verse 32

P14- Verse 33

P22- Verse 34

P23- Verse 35

P31- Verse 36

P36- Verse 37

P41- Verse 38

P47- Verse 39

P54- Verse 40

P59- Verse 41


The 64 chakras (Tantras) are meditated upon by Shiva:
He knows all the mechanical devices of the Tantra.


- By means of 64 techniques (each having its corresponding Siddhi) (each its own specific power generating) - Having transcended ( meditated away) the world - Remaining in this fashion - The Lord of Beasts (Shiva) - Again by your insistence (by the Devi's insistence) - Capable (or free) to bring to get Her all aims of man - Such your technical know-how - The stable surface of the earth (world) - Made to descend into being

Each of the chakras has its own siddhi (psychic power) in one-to-one correspondence.

Shiva's function is to abstract and generalise the 64 chakras. The Devi insists that he not go too far on the plus side. There is an ascending (Shiva) and a descending (Devi) function.

Here the negative descending force counters the ascending tendency - thus calling the world again into existence.

SLG3 - P2

Whatever aims man is capable of bringing about - he must have food and philosophy and love and salvation (Dharma, Artha, Kama, Moksha - the 4 goals of life according to tradition)

The Devi has the freedom of bringing together, by her expertise with technical aspects of the universe, all the things that were evaporated by Shiva: She will provide a stable ground so that mankind may pursue righteousness. She has a power equal and opposite to Shiva's, and through that power She makes it possible for humanity to pursue a purposeful existence. This stable surface of the world is the horizontal principle. This world has come down onto a horizontal base on which mankind can pursue existence. "Already brought into being" means that She has already provided this base. Shiva can destroy only after creation.

SLG3 - P2


The Devi says:" Why do you want to ascend so high - don't you know that men and animals must have a base on which to live?" Shiva is conceptualising the 64 chakras, each of which gives birth to its corresponding siddhi.
SLG3 - P3
This corresponds to explosion, to a centre-directed process of becoming.
(X and X', Y and Y' and X' and Y' are not interchangeable.)


This force or tendency is opposite to that of the Devi,
which can be called "implosion". ("sva-" in svatantra means "one's own)


The ability to generate these powers through his "savoir faire" is the power of Shiva - and so, one who meditates on the chakras will simply stay at that point - with the power of the siddhis (psychic powers).
The Devi has the opposite ability or function.
But these two must be meditated upon by the devotee as functioning together as parts of the same whole - the Absolute.
Paratantra (Shiva) and Svatantra (Devi) are here represented with their opposite functions and attributes: the Immanent and the Transcendent.

SLG3 - P4

His perfected way of dealing with this world is toward the numerator side - this is Paratantra.
This is made to descend by the Devi.- this is Svatantra.

(The Malayalam commentary to this verse seems to suggest that it is all right to kill as a sacrifice to the Absolute. This is not Vedanta, we shall go into this commentary in detail , and it seems the pundit is a Rao (a type of Brahmin).)

The Gita says that every act is binding except that act which is dedicated to the Absolute.
(We can accept this in principal, but this does not mean, for example, that you should eat an animal which has died.)
Why is Tantra Shastra so linked up with Malayalam, the language of Kerala?
This is due to the influence of educated Hindu women under the Muslims who found their way to the Kerala coast.
The pundit seems to think that the Vedas sanction some of the 64 Chakras and not others.
This is not even anywhere near the truth.
Which book is the custodian of Vedic dogma?
The Smritis (works concerning obligatory action) perhaps, but not the Vedas, which are Sruti (wisdom texts) - sruti means "what you hear" - there are no laws in the Vedas.
Smritis are tradition, and thus may dictate morality,
the Vedas do not dictate morality - they are Sruti.

SLG3 - P5

VERSE 31 (re-examined)
The 64 Tantras refer to techniques, expertise or savoir-faire.
Shiva is enjoying the freedom of this savoir-faire.
The universe is a matrix without crystals - to get crystals, it has to be arranged structurally in terms of the Tantras.
Having meditated upon these 64 - Shiva sits as an Omega Point, thinking the 64 as a totality and transcending them.
He is not doing anything, he has "thought away" the world.
Think - conceptualise - nominalize - evaporate.
Having conceptualised all this, Shiva remains.
He is the numerator side of the denominator beasts. (he is called "the Lord of Beasts" (pasupati) in this verse.
"It is you, the Devi, who insists, by way of fulfilling necessities..."
The Devi is in charge of affording man the opportunity of fulfilling his functions. Svatantra is the Devi's function.
This world is brought into being by the descent of the Devi (descending dialectics) which counteracts the upward movement of Shiva.
In this way, She brings into existence the real stable surface of the earth.

SLG3 - P6




The Devi exerts a negative influence on the positive evaporating tendency of Shiva: "by your compulsion.."
This compulsion is to be avoided only by normalisation or neutralisation.
What is flying off to the Non-Self, She normalises by turning towards the Self side.


- By 64 know-how factors
(Tantric: operational, functional, technical, ritualistic.)
- Remaining still(The unmoved mover, transcending paradox)
after encompassing the whole world
- Capable of giving birth, each to its extrinsic psychic powers (siddhis)
- The Lord of Beasts (Pasupati)
- Again by your compulsion
- Capable of bringing into unified operation all laudable purposes of
human life
(righteousness, wealth, passion, and salvation)
- Your know-how
- This surface of the earth
- Brought down to be

The Devi is capable of bringing cosmic order, providing the firm ground for people to attain their salvation.
An empty vacuum is brought down to firm ground.

SLG3 - P7

Some significance, in terms of human value, is necessary for any conversation to take place.
Sankara said to the Buddhists that if there is nothing, they should keep quiet and let him talk to his disciples.
So, by the Devi's compulsion in the negative direction, the dispersive forces of the Numerator are normalised and ordered,
So that the purusharthas - the purposes of human life - may be acted out.

SLG3 - P8

The Malayalam commentary on the previous verse claims that the sacrifices mentioned in the Vedas condone immoral acts, drinking, meat-eating etc.
- this represents a degenerate form of religion.

"Shiva, Shakti, Kama, Kshiti, Ravi, Sita-Kirana, Smara,
Hamsa and Sakra, Para and Mara, Hari and the Hri-Lekhas".
This verse is concerned with numerology and nominalism.

Other aspects of schemas, not mentioned in this verse are:
crystals, conics, plane, solid and analytic geometry, 3-dimensional space, structural space, crystalline structure in chemistry, flower structure in biology, colour language, colour harmony, letters and numbers.

You can analyse and relate consciousness to sound.
Numerology, semantics, mathematics etc. can all be seen in terms of the quaternion structure.
This structure, as a normative reference form, will lead man from discovery to discovery.
Knowledge of the structure of the mind helps man to keep from making mistakes in speculation.
This verse is concerned with taxonomy, the science of sounds in semantics
- with determining meaning.
Semantics, cybernetics, and logic: these are all various components, combining with logic, which go to make up structuralism.
Microcosm and Macrocosm are dialectically related.
Planck and Einstein, concerned with particles and galaxies respectively
still use the same structure.
Narayana Guru said a universe is contained in a particle of dust and many particles of dust make up the universe.
(Now we will be going into a treatment somewhat akin to the Pythagorean Tetraktys and numerology.)

This is nominalism in excelsis.
Pierre Abelard was a nominalist philosopher, the lover of Heloise, castrated because of it.
Heloise asked him to show her at least the attention he gives other disciples.
He was a nominalist: Vedanta is also nominalist.
The logos is an inseparable part of reality.
By way of giving names to your aspects, or limbs, we make them real.
Taxonomy is the science of giving names - nomenclature.
Kratilos (?illegible) is the chapter of Plato's "Republic" which deals with names.
See St. Thomas Aquinas on the origin of divine names.
This verse deals with nominalism - the giving of names to the various aspects or limbs of the Devi.

SLG3 - P10


- Shiva, Shakti, Kama (vertical, horizontal, desire)
- Earth, then Sun (enumerating a list of nominalistic factors)
- The cold-rayed one (the moon)
- Vishnu
- Swan (Hamsa)
- Sakra
- Para, Mara, Hari
- These triple heart-marks (4, 5, 3, divided into 3 sets)
- At their terminal points
- As joined they meditate (they meditate as joined)
- These consonants
- For you they become, o mother ( of the Universe)
- By way of name

Some people meditate on these names as representing the Devi.
The twelve items named have to be divided into three sections -
not necessarily 4, 5, 3 - this is the pundit's idea.
These are the names of the components of the Devi.
Shiva, Shakti, Kama and Kshiti, Sita-Kirana, Smara, Hamsa, Sakra Para, Mara and Hari.


SLG3 - P11

1) Shiva
2) Shakti
3) Kama
4) Skit
5) Ravi
6) Sita-Kirana

The remaining six:
7) Smara
8) Hamsa
9) Sakra
These are tentative divisions.
Divide them into three distinct sets.

In every country, one philosopher gets an idea about nominalism, for example, and other unqualified men try to explain.
Each philosopher will use categories which have a name and a structural position.
So, you have twelve limbs: the Guru arranges them in his own way.
These twelve names are all monomarks.


These names suggest certain functions or areas, so these are monomarks,
purposely selected for purposes of nomenclature.
This is Nominalism.
Whatever way you group these, it really does not matter.
There are three groups, punctuated between them with "hrim" (means "heart")-a heartbeat.

SLG3 - P12

renormalisation means naming the categories schematically.
This is a renormalised taxonomic nomenclature using monomarks for ensembles.
Three ensembles are mentioned here, they have to be placed properly in the structure.


- Shiva, Parvati, Eros (Shiva, Shakti, Kama)
- The earth, then sun
- Moon and God of Love (Smara)
- Swan (pure spirit), Indra (powerful god)
- The ultimate source thereafter
- The tempting factor and the saving Vishnu(Marah, Harih)
- With the three heart monomarks
- Suffixed
- As united they adore
- The letters these
- Yours, o Mother
- As names for your component limbs

Shiva and Shakti; then place Smara: Eros as "love" and "explainer of the Vedas"

SLG3 - P12


Shiva, Shakti, Kama, Earth - This is the frame.
Ravih (sun), Moon, Smara, Powerful God, Hamsah
Para (source), Maraha
Hari - The negative side of the vertical axis

SLG3 - P13

Each of these ensembles has a circle around it.
This is a picture of the total mathematical world.
"They adore" refers to the relativistic Kaulins who worship the Devi.
Sankara is telling them that this is the proper way to use Tantra Shastra to adore the Devi.
There are three ensembles, their components being the elements or "limbs"
of the Devi.
This must be the underworld, and Sankara has entered into it in order to revise it.
He has taken an element of Tantra Shastra and brushed it up.
He is putting order into the Kaulist religion.

SLG3 - P14

There is no distinction between man and woman, both are together in one seed.
There are two value factors: numerator beads and denominator ghee (clarified butter, used as offering).


Certain ones, o Eternal One, those who are capable of enjoying endless happiness, they serve you - as if they possess a rosary string of valuable gems
(a value-string of gems from contemplation).
In the fire of Shiva, they are sacrificing the ghee, which is made from the milk of Kama Dhenu, the wish-fulfilling celestial cow.

There is an equation between the numerator ghee and the denominator fire.
Make a bursting flash of light in praise of the Absolute.
Certain people think there is a difference between Vedism and the esoterics of South India. The use of ghee is a north Indian custom - certain others are in the habit of using esoteric Tantra Shastras.
These amount to the same thing in the totality of the Absolute.
This is a kind of mocking - "some people" are not approved of by Sankara.
Those who tell beads are doing the same thing as those who pour ghee into the fire.
Both of them are hedonistic.
The Vedic context has a wish-fulfilling cow, Kama-Dhenu, bestowing benefits (milk) from the negative, hierophantic side
Necessities - it is the ghee from this cow that is referred to.
Then there is a garland of beads, each bead being the result of Kaulist speculation - representing a string of values.
This is not Vedic. Their speculations are on the Absolute.
Each bead represents a value in the Absolute.
But each kind of devotee is concerned with benefits - in terms of a graded set of values. They are concerned with some joy or other.

SLG3 - P15

The implication here is that they are the same kind of people,
although one is Vedic and the other Kaulist.
He damns both with faint praise, indicating that both are hedonistic and relativistic.
Guru tells the story of the son of a servant woman who went to a guru and said that he did not know the name of his father, and the cart-driver sage who called the king a sudra (low caste person).
Sankara contrasts both the Vedic worshippers and the Kaulists
against those who realise totality.

aim (?) - Kama raja(?)
shrim - Lakshmi
hrim - Feminine source, (unclear)


- Eros and feminine source (or female organ)
- Lakshmi (goddess of wealth)
- These triple factors
- First into your mantra placing ("aim", "shrim", "hrim")
- O eternal (one)
- Many enjoyers of great benefits (enjoyments, boons)
(there are many who place these first in mantras)
- They praise you (by the telling of beads with syllables as above)
- With collections of philosopher's stones strung on a rosary
(they pass in revue various grades of values)
(She is the eternal Goddess)
(These values are at least strung together, he is thinking of
integrating all the values together as eternal)
(Guru withdraws the charge of sarcasm in this verse)
- Into the fire of Shiva (as a numerator aspect)
- Sacrificing ( the act of pouring ghee)
- Ghee of Kama-Dhenu (the cow who gives unending milk)
- Streak (unbroken) (indicates a never-ending function)
- In a hundred acts of sacrificial offerings. (forming a streak)
(why a streak? Because they are strung together,
as a string of beads are strung together.)
He is saying that one is just as orthodox as the other.
Do not make a distinction based on superiority.)

SLG3 - P16

"Maha"(great) is the word that lifts this out of the relativistic, hedonistic context - since this is "great" devotion.
Both sides are thinking of a hundred values which are united into one value.
One side is numerator, and the other side is denominator.
Because of the word "maha" the Guru retracts all of the commentary up to the word-for-word translation
But, without "maha" which indicates that the totality is recognised, then we would have relativism and hedonism.
The phenomenal world of waves on the ocean can be cancelled with the noumenal side of the world.

SLG3 - P17

Kaula values revalued in the light of the Absolute.

When the Numerator is equal to the Denominator, then there is no sin.
This verse provides a Vedic Numerator for a Kaulist Denominator.
Kama Dhenu is the appropriate numerator to cancel with - it is of the same quality or status in the Vedic context as the denominator rituals of the Kaulins.
So, Sankara is correcting a one-sided approach.


Layer 1 - Lakshmi, Smara(someone in the world of action to embrace) The Yoni is a Kaulist factor.
Layer 2 - Vedas (Kama Dhenu)
Layer 3 - Nitya (Vedanta, thinking)
Layer 4 - Maha Bhogya, the Absolute, absolute enjoyment.

Here is a circulation of values, with fire as the locus.
A worshipper goes through four stages, from Kaulin to Vedic, to Vedantic speculation, to Absolute Maha Bhogya (great enjoyment).

SLG3 - P17


The fire of Shiva is Vertical
The fire of Smara is horizontal

There is a continual flow of milk from Kama Dhenu
- a streak of ghee, which implies continuous offering.

SLG3 - P18

Eros is the horizontal version of Shiva.
Kama Dhenu, the heavenly gift-giving cow, provides the corrective touch to avoid a break in the continuous flow of culture.
Sankara stands for the synthesis of all forms into one culture.
Pouring ghee one hundred times is the same as telling one hundred rosary beads.
These are particular instances of the general worship.
Eros must be placed on the horizontal because he is real.


- Eros, Source, Wealth (principles) (Smaram, Yonim, Lakshmim)
- This triplet
- Placing first as your mantra (charm) (numerator)
- O, one and eternal (eke nitye)
- Innumerable great enjoyers of benefits
- Adore you
- With rosary strung together with philosopher's stone beads
- Into the fire of Shiva
- Sacrificing (offering into the fire)
- Hundreds of streaks of oblations from the heavenly cow

SLG3 - P19


- You are the body
- Of Shiva
- Having twin breasts for moon and sun
- Your self
- I consider
- O, auspicious one
- As a new self
- Sinless therefore
- As what remains itself and as its counterpart
- By way of having common factors between the two
(i.e. by complemental reciprocity)
- The two remain
- Bound together
- For you two
- Having equality of status in terms of transcendental bliss
(You have the same status in the Absolute)

Shiva, here, has no body: he is a mathematical Omega point
How can Shiva's body be said to have two bulging breasts?
Because it is a purely conceptual body
- the real sun and the virtual moon are also conceptualised breasts.

SLG3 - P20

The horizontally conceived body - Denominator - is you, the Devi.
This body belongs to Shiva as your counterpart.
He has only a conceptual body.
The sun and moon are not physical but conceptual breasts - real breasts would be below the line.
"Yourself, I consider to be a new self, without sin".
The Denominator could have sin, not the totality.
These could be defined as remainder and remaining: Spinoza, Leibnitz and Descartes knew the difference between them,
"Mesure mesurante et mesure mesurée ", as Descartes calls these two factors..

The remainder is a noun, it is quantitative, substantive.
The remaining is a participle, qualitative, predicative; it is "the quality of remaining".

The "new Self" is an emergent Self : a combination of the Self or Devi, and the non-Self, or Shiva; as a result of the merging or reciprocity of the two.
This verse does complete justice to the Devi,
Sankara is saying exactly the same as Narayana or Nataraja Guru.

SLG3 - P21


No pundit of India or methodologist of Europe can explain this verse.
(See Lacombe : "L'Absolu selon le Vedanta")
Transcendental bliss - Shiva and Parvati have between them a parity and a one-to-one correspondence.
(see Bergson: the relationship between Peter and Paul)
This is too high-class: I have given you the translation.
It is a question of the interpenetration of two aspects of the Absolute,
called Para Brahman and Apara Brahman, the immanent and transcendent Absolute.

Here the Guru asks for an explanation of the sun and moon as the breasts of this "new" self - interposed on the conceptualised body of Shiva.

SLG3 - P22

Cancellable relations, implying Compensation, Complementarity, Reciprocity and Parity.
Alternatively: Complementarity, Compensation, Cancellability and Reciprocity.
These are all dealt with in this verse, which is representative of the ultimate of culture, literature and philosophy. (should be given Nobel prize)


- You, the body
- Of Shiva
- Having sun and moon for (twin) breasts (parity)
- Your self
- I consider
- O beneficent Goddess
- As a new self (suggests complementarity - revision)
- Sinless
- By virtue of this (juxtaposition of values)
- With mutual complementarity these
- By being reciprocal, with common features
- Stands (the relation stands)
- The relation
- Of you both
- As (twin) participators on equal terms in transcendental bliss (cancellable)

Male and female are related in such a way that they belong together in the Absolute.
The ontological vertical axis is not enough: that is only an Aphrodite.
But you are the body of Shiva, and the new Self is the Absolute.
You are both participators in some kind of colour.


SLG3 - P23

Mind, Ether, Air, Fire, Water, Earth - From the pundits
You are dominating as the ruler of the world, certain Shiva Kanyas
(created by you) are there to help you.
Brahman does not evolve - this is a prime presupposition of Vedanta.
However the word "evolution" occurs here, in what sense?
The Epistemology of Vedanta is important here..

First reading - paraphrase:


- You represent the mind (manas), space (akasha or vyoma) is yourself
- You also become the principle of wind (marut)
- The fire (agni) is yourself, you are also the water (apa)
- The earth principle (bhumi) is also yourself
- In the matter of having evolved into such factors (shiva kanyas)
- There is nothing other than yourself (you are able to make yourself evolve)
- Taking the form of the universe
- You are taking the young damsels' function
- You are ruling (the world or universe)

We can say that "by appearance You seem to be many functionaries,
but Brahman is not subjected to any process of evolution".
Evolving in relation to itself - in itself, by itself, for itself.
When "evolution" here complies with these three sets then it is not evolution,
but "creative evolution".

The Devi wants to function as a young damsel with a relationship to Shiva
This is not evolution, but "creative evolution",
(as in Bergson: " L'Evolution Créatrice").
Without compromising Her absolutist status, the Devi evolves into many Shiva Kanyas (damsels).
The change is not fundamental; the absolute Numerator has a parity with the absolute Denominator - this parity is not spoiled.
The change does not refer to anything outside the Devi.
You must transcend paradox to explain creative evolution:
Here it is in itself, by itself, for itself.
This contains a great secret which even puzzles the Guru.
These elements: "in you having matured - there is nothing other than you,
nothing transcendent to make it evolve; having the universe as its body."
"You are not transcendent, there is only a change in appearance".
this is the Vedantic view of "evolution".
The world consists of one universal stuff - this "neutral monism" is between mind and matter.

(See Descartes, Spinoza, Russell, Kant, Leibnitz, etc.)

SLG3 - P25

Thus the Rationalists, Idealists, Vitalists and Empiricists were all speaking of essentially the same thing.
They have been grouped together by their followers.
Where, for example, did Locke get the idea of the Tabula Rasa?
He got it from the Absolute - everything has its a priori, axiomatic point of origin.

As for this verse, Sankara says the Goddess "reigns supreme"
- this is justified by certain delicate corrections applied to relativity.
The pundits will ask: "What? Corrections within the Absolute, which is supposed to be perfect?


- You, the mind
- You, the sky
- The wind you are
- You are the charioteer of the wind - (fire)
(beginning of intelligence; in the Upanishads, the chariot is the psychological aspect.)
- You are water
- You are the earth
- In you who are evolved
- Not transcendent indeed
- You yourself
- Your own self
- To cause to evolve
- With your universal body
- In the form of mental bliss (chidananda)
- As Shiva-maid (young maid with the quality of Shiva)
- You rule

"You rule" as a result of the interpenetration with Shiva.
"Evolves" refers to theoretical or negative evolution.
He has written this to bring out the proper epistemology; it is like saying that the magenta colour rules the world.
If you incorporate the husband's functions into the wife, what are you cancelling?
The key here seems to be that She is evolving by Herself.
The mind is at the top, and the earth at the bottom - this is descending dialectics.
The mind has positive consciousness, the earth has negative consciousness.
When you put vertical and horizontal together, you get a substance.
The top accentuates thinking, the bottom accentuates substance.

1) He descends from Mind to Earth in a graded order.
2) The principle of compensation is applied at any level.

Here, the subject is the Goddess; this is more difficult to explain than the prophetic approach emphasising the mathematical numerator.
Here, the two aspects are brought together, with emphasis on the negative.
Numerator and Denominator are corrected at any level of the ascending or descending process, by double correction.

Evolution here is in itself, for itself, by itself, through itself.


The process of descending dialectics finds its final negative point in the form of a beautiful woman, since this is an actual, real value. So, of course, She is a "young" woman.
You cannot "believe" in the hypostatic entity - but the beautiful woman is real and substantive.
But all through this process there is a double correction and compensation,
back-to-back, which keeps the absolute value always constant.
So, even the last stage of the descending dialectical process has the same absolute value status as the Omega Point, or any of the points in between.
Mathematical and physical are interpenetrable: She must only descend with the proper epistemology, axiology and methodology.
As long as the ratio is cancellable, then, "Devi rules".
But, She must be affiliated to the numerator Shiva - "Mrs. Shiva".
She can rule as long as the Numerator is there, nothing is lost.
(King Arthur was unhorsed by Lancelot; Arthur laughed and said "It was my disciple, so it does not matter").
This is the opposite approach, but it comes to the same thing.

SLG3 - P28

1) "The fact that is an independent value"
This is an example of epistemology.
2) "That axiomatic truth is at the top, perceptive at the bottom"
This is an example of methodology.
3) To attain salvation - of value to you, personally, the idea of a painting.
This is an example of axiology - beyond logic.
3) "Man cannot live by bread alone" There are higher ideas; their direction
is found axiologically.

ALL DIALECTIC COUNTERPARTS ARE EQUAL - this is an axiological factor

SLG3- P29

"A Descending Review of Compensational Values"
"A Descending Scale of Values"

This verse goes from the numerator Mind to Sky, then Wind etc.,
In a descending process, to Water and then to Earth.
This is reminiscent of the Mind as the charioteer of the Upanishads.
Mind is at the top and earth at the bottom
- with "Mind" as the overall limiting reference.
In between these is intelligence.
So, this is a gradation of values: - some things are true logically, some factually, some humanly (in terms of values).
All of these neutralise one another at any point on the vertical axis.
After cancellation, we have always the same unitive Absolute Value.

The chance-factor is the Will of God The possibility factor, is the Wind.
In any case, the elements have to be viewed contemplatively as monomarks
- so we can say that Fire is the charioteer of the Wind.
Here the chakras are referred to.
Just as we need the Ether for equations, so we need a horizontal axis to relate to the vertical.
When the horizontal becomes thin enough, it is abolished.
The horizontal is the Devi, the vertical is Shiva.
They cancel out at each chakra.
They cancel out into a value.
What is lost in the horizontal is made up in the vertical, and vice-versa.

SLG3 - P29

The value here is the knowledge of Brahman.
The more you know the Absolute or Brahman, the more you sympathise with it, the more you BECOME IT.
Here, he will descend from the topmost Adhara or chakra to the bottom - through six in all.
The Shad Adharas - these are six chakras, in each of which we can see how Shiva and Shakti interpenetrate and cancel out at every level, from Mind down to Earth.

So there is a game to be played, within the limits of Mind and Earth.
The limiting instances can be whatever you like, as long as you are consistent.
We first assume the two limits, or factors- like green and red wires in electricity - which can later be abolished.





- The Mind you are (manahatvam) (manas-tvam)
- The Sky you are
- You are the Wind
- You are the Charioteer of the Wind (i.e. Fire)
- You are Water
- You, the Earth
- There is nothing more ultimate than you, thus attaining full maturity
- Parinamayitum (as should be, ed.)
(Because you have attained to perfect thinness of the horizontal axis)
- You are yourself, indeed,
- Your own self
- In order to perfect
- With cosmic body (or form)
- The form of subsistence-value
- In the form made of Shiva (Shiva Yuvati)
- You rule

Ajna Chakra is between the eyebrows.
Vishuddhi, slightly lower.
Anahata in the heart.
(List incomplete)

SLG3 - P31


This verse suddenly jumps to the numerator, giving primacy to Shiva (Shambhu), to show ascending dialectics.
He is transcendent and full of light.

Two sides, right and left, are mentioned, (why right and left?).
These two sides are illumined by the light of intelligence which shines from above, the worship transcends these phenomenal factors to that point from which even the mind recoils, transcending all phenomena.

"Alone" means thin, unpopulated.
There is no company around you to share your thoughts at the Omega Point.
"Indeed" - he lives in loneliness indeed.
Such a man who worships lives in this state.
The only reference to the Devi here is that he lives in " Her" Ajna Chakra
Loneliness is the point here.
In the light of intelligence, there is One alone, transcending phenomenal factors.
This light is pure, having nothing to do with Sun, Moon and Fire.

"The man who worships Shiva, living in your Ajna chakra, is living in the pure light of intelligence".

SLG3 - P32

So here, Shiva is in the top story - "Your" top story - and this is the aspect being worshipped in this verse.
The Sanskrit text is - tavanya chakrastham tapanasasikoti...etc.- Ajna, not Sahasrara.
The man who worships Shiva as residing in the Ajna Chakra,
He himself will reside in the Sahasrara Chakra at the very top- beyond the two aspects of Numerator and Denominator - in pure consciousness.

So, the power can be at the top - as here - or at the bottom,
As in the last verse, it does not matter.
But this is the purest level - thus, the pure light of intelligence.
The Devi's world begins at the bottom and ends at the top.
Shiva's world begins at the top and ends at the bottom.
They are complementary, and cancel out at any level.
The Absolute is the value - with the two simply as counterparts.

Drawings of the Chakras - Six, with the Sahasrara as the seventh.


You must equalise the "pull" between substance and thought.
When this is done, you abolish paradox - at every stage - into stable consciousness; this is what is called a constant.
This equilibrium at any level is something like a ceiling light, which can be adjusted upwards and downwards on a vertical cord.

SLG3 - P33



Muladhara - the stable base - ontological substance.
Manipura - filled with gems - slightly precious, like quartz crystals - one degree removed from ordinary earth.
Swadhisthana - is its own support.
Anahata - never to be killed - with a lot of life.
Visuddhi - purified
Ajna - will power: contains some of the attributes of Sahasrara
(see earlier queries about these two, ed.)
Sahasrara - thousand petaled - Sankara gives absolute status to this Chakra
-it is between the eyebrows. (all sources say the top of the head, it has to be top of head, as Ajna is between the eyebrows, this is probably an error in the note-taking ed.)

Sankara uses the chakras from the Tantra Shastra, just to show that they can be fitted into the scheme of Vedanta.
OK we roughly understand these chakras.


- Your
- Placed in the (second of chakras from top) Ajna Chakra
- Having (wearing) the brightness of crores of suns and moons, ultimate
- I worship Shiva (of this description)
- By the ultimate mental ground, the two sides being illumined
- Whom
- Adoring with devotion
- Not within the scope of sun, moon and fire
(i.e. it is the worshipper who lives beyond the scope of all these)
- Beyond (all) ken (suffering?)
- (On that) other-worldly ground (a world that is not a world)
- Looming in consciousness
- In that domain of pure light

SLG3 - P36




This virtual and actual distinction - left and right - is not clearly stated in Sanskrit.
The Yogis seem to have set up these categories to correspond with certain facilitations in the nervous system.
Narayana Guru's example of actual and virtual is the man who has to climb the hill to find the three medicinal herbs (on the vertical parameter) .
One half of the herbs are eaten by the natural man,
but the other half of the value is above the line,
and the man has to travel past the lion and the snake.
Which is more dangerous? One has to be bold with one, and wary with the other.
So the nervous system contains both a male and a female aspect - real and virtual - lion and snake.
The man who worships Shiva as residing in the Ajna Chakra, he himself will reside in the Sahasrara Chakra - beyond the two aspects of Numerator and Denominator, in pure consciousness.
("In that domain of pure light")
Aesthetics and calculations interlace here to give the highest kind of normalised poetry: the vertical is dancing, and the horizontal is fully manifested.

SLG3 - P35


Cancellation in Ajna Chakra.
To abolish duality is the aim of all philosophy.
Here, he is describing a revalued Ajna Chakra, located between the eyebrows,
below the Sahasrara, the thousand petaled lotus.
Sankara here begins a revue of the chakras in descending order, dealing with six only: Ajna, Visuddhi, Anahata, Svadhisthana, Manipura, and Muladhara.


- Your (of the meditator, or of the Devi).
- What is placed in the Ajna Chakra (willing centre)
- Wearing the luminous brightness of crores of suns and moons
- The Ultimate Shiva I adore (the author)
- By the higher intelligible light, having both sides clarified
(both the sides of Shiva are equally clarified)
- Such a Shiva (i.e. "whom")
- Worshipping with devotion
- Beyond the scope of Sun, Moon or fire
- What is beyond the visible
- In that lone (domain) (aloke - " a" = not, and " loke"= space,
thus non-space, alone.)
- Lives indeed (i.e. the meditator lives)
- In that bright world (of intelligibles)

- Mind - Ajna
- Ether - Visuddhi
- Air - Anahata
- Fire - Svadhisthana
- Water - Manipura
- Earth - Muladhara

The "I" is the author, and the meditator is referred to as living in the realm of pure intelligibles, having broken through everything.
There is no travelling gradually from chakra to chakra.
When you understand Brahman, you become Brahman.

SLG3 - P36

Sankara has taken the trouble to indicate all of the mathematical and epistemological secrets.
He reveals a continuum and the interaction (penetration) of time and space .
The five elements, of different heights, become all mixed up in a confusion of Maya.
At Visuddhi Chakra, the perceptual world ends and the conceptual world begins.
Here, Shiva and Parvati are together, in the Visuddhi Chakra, which is "purified" or made epistemologically equal.
By the combined brilliance of these two, there is a kind of moonlight, which is drunk by a Chakora bird, but remains outside.
This chakra has risen above the horizontal; there is no dross, no residue of phenomena, it is "purified".

The Devi shines subjectively, and Shiva objectively:

SLG3 P37


- In Your Visuddhi Chakra (the third from the top)
- Pure crystal-clear
- Intentionally implying open space (or sky)
(So it is a nominalistic point, implying or indicating the next high chakra.
(Its crystal clarity is an anticipation of the sky. Ascending dialectics.)
- I worship Shiva together with the Devi
(They have obtained a certain parity of status)
(The integration is begun in this chakra)
- Ordered with equality of status with Shiva (cancellable)
- Of these two
- By the fluid (flowing) glory (of light)(Kantya Yantya)
- Resembling the streaming of moonbeams
- With wiped-out (or dusted) inner darkness (of ignorance)
- It shines (the triple worlds)
- The three worlds bathed in joy like the Chakora bird




Shiva is joyful outside.
Devi is joyful inside.

She is joyful like the Chakora bird which drinks the moonlight which shines from Shiva.
When thus intoxicated, the colour of both Numerator and Denominator becomes the same magenta.
Only the joy, or value-factor felt by the Chakora establishes the parity between them.

The Chakora bird which drinks moonlight is the image of the Devi in this verse.
Thus the Chakora bird is a very apt description.
There is a parity established in the value world.
Joy is the common factor here. The moonlight comes from Shiva.

SLG3 - P38


Inner ignorance is dusted away.
The whole of the secret is found in the analogy of the Chakora .
What is subjectively understood is inside the Chakora.
Objectivity is represented by the light of Shiva.
On a moonlit night, you may find yourself in the Visuddhi Chakra, with clear, transparent thoughts and no sleep.
Then, meditate on a lower chakra.
If you are sleeping too much, meditate on a higher chakra.
After so much moonlight, why this unpleasant erotic Chakora?
Because the crystal analogy must be completed by providing the smoky side.
The Chakora is female, and enjoys the moonlight internally.
Schematically she takes up half the structure - with her neck bent, drinking the moonlight.
This is found in the last line of the verse.
Thus, the perceptual moonlight and the conceptual moonlight are here shown to exist in the same whole.
The joy outside and the joy inside are not the same.
A bird drinking moonlight (experiencing it) is different from a man seeing moonlight.
Similarly, a professor of Yoga does not necessarily have the experiences that go along with it.

SLG3 - P39

In this verse we have parity at the next subdued level: Visuddhi.
Parity is introduced to the picture. Whenever you verticalize, you get parity.

Philosophy is the universe seen end-on, a 180 degree perspective -it is vertical.
Science is a cross-section view, a 90 degree perspective - it is horizontal.

Shiva and Parvati have a parity between them.
Visuddhi Chakra is crystal clear, pure, with a fluid, not a bursting light, like moonstone.

Vertically there is a parity -between the sun and moon.
Horizontally there is a complementarity -between Numerator and Denominator.

Sankara has taken great care in forming these chakras.


SLG3 - P39

There are certain centres where you can draw a circle and say: "this is a system" - that is a chakra.
This chakra is like the smoked glass through which we view an eclipse.
A chakra is where the mind can find out something :
"The human mind cannot live on abstractions" - Bergson.
A synergism, in the most general and abstract terms, is like a chakra.
The mind is made in such a way that it wants stable resting places, reference points, systems or ensembles.
A chakra is a synergism or syndrome, a stable set with a consistency between the elements: a gestalt.
See also Cantor's theory of ensembles
- also Hilbert, Kramer and "Number" by Danzig.

SLG3 - P40


- In Your (the Devi's) Visuddhi (Chakra)
- Clear as crystal
- Giving birth to sky (the cause of the descent
can be said to give birth to the effect - the sky)
- I adore Shiva
- The Goddess also
(the distinction is justified because we descend from the Omega Point)
- With parity of function with Shiva
- Of whom (both together)
- By fluorescent glow of which (moonstone-like)
(the subdued glow from Shiva and Parvati)
- Resembling moonbeams
- Shine with dispelled inner dross ("dusted")
(describes the views of someone like Eddington)
- Like a female partridge (Chakora)
- In the world (the bird is in this world)

The Chakora drinking is complementarity.
Between Shiva and Parvati there is parity.

In this world, there is a female bird who can appreciate the numerator luminaries and thus cancel it.

The little heart of a bird can contain all of the Numerator.
The delight inside the mind of the bird is to be cancelled against the numerator moonlight concept.
When this is done, you have Absolute Beauty.

SLG3 - P41

Shiva and Parvati receive a higher status of parity - as two birds.
There is a lake of mystical geography referred to.
At the very end, there is another analogy.
A most effective locus.
There are two birds drinking, separating milk from water.
Two swans are swimming in the pond of consciousness, drinking honey from the centre of the same lotus, taking the essential and leaving the superfluous.
Swans are traditionally supposed to be able to separate the milk and leave the water.
There are certain people who are good poets and of a rare quality and in the minds of these people these swans will be found in their absolute parity.
They are enjoying the essence of Sanskrit culture and learning.
These swans are not like the Chakora - they have been promoted to a higher chakra.
We have a pond, with at the centre a lotus.
In the lotus' heart, the heart of consciousness, is the concentrated essence of wisdom.
The two swans of equal status are both drinking of this honey, enjoying that which only a few people can enjoy.
Whereupon knowledge is divided into two parts: nine for Shiva and nine for Parvati.

As they suck the honey, the 18 arts are elaborated in the wings of each swan.

SLG3 - P42

These two birds are taking the Absolute Value - or milk
- and are leaving the extraneous disciplines - water.
For example:
pure mathematics is Numerator,
grammar or syntax is Denominator.

That is: milk represents the absolute value factor, which is separated from the extraneous water: this is discrimination.
Shiva and Parvati are elevated from their position in the last chakra to absolute parity in this chakra.



The eighteen Vidyas (arts) are divided equally between them, becoming manifested, as they suck the honey, in the feathers of their wings.
Complementarity - one thing complements or completes the other
- reciprocity, cancellability, compensation.
There is a kind of parity between these two birds.
They are reciprocal, having a parity between them.
If they are equal, why talk about the two of them?

Parity is dealt with in the Schroedinger equation - the hydrogen atom.
"Parity of wave function" given quantum number in Kaplan's "Nuclear Physics".
Parity comes from "pair" and "reflection".
It is more of a structural entity than anything else.
It implies the actual and the virtual.
These twin swans who drink from the same intellectualised fountain-source of wisdom are both somewhat theoretical and are related by parity.

SLG3 - P43

Knowledge here is a lotus, rather than a sea, so that we can establish a
bi-polarity between Self and knowledge; then they are put together.
The two swans seem to be on the same horizontal level, although quite high up on the vertical axis, at a conceptualised, mathematical level.
The same laws of nature hold good on one side of the mirror as on the other: mathematics, the speed of light, etc.
So this parity is one of the four relationships which we normally use.(parity, reciprocity, complementarity and cancellation.)
The swans are swimming together on the same lake of the mind, drinking from the same source and absorbing the same benefits.
They are related where one is original and one not (?), and vice-versa, depending on which quality you consider - as between actual and virtual qualities.
This parity is a very thin relationship.

(Yang and Lee say that it does not matter whether a particle is real or not: in some cases it will respond to certain mathematical laws.)


Cancellation is 2/2
Complementarity is like two halves of a broken eggshell
Compensation is like the two sides of a pair of scales

The laws of nature are said to be represented in Schroedinger's equations, and all equations can be represented by graphs so the laws of nature can be demonstrated structurally - see Bergson and Eddington.

SLG3 - P44

A law of nature is simply a generalisation and an abstraction.
There are two swans swimming on a wisdom-lake; they are equally beautiful and there is parity between them.
Why two? Because they represent Shiva and Parvati: they are enjoying something intellectual, dividing the eighteen disciplines between them.


- Fully blossomed lotus of wisdom consciousness
(the final stage of knowledge)
- The ambrosia unique
- As enjoying
- I worship (or meditate upon)
- The pair of swans
- In certain great ones (i.e., these exist in the minds of certain
great or wise ones, capable of enjoying them)
- As moving in the mind-lake (this all happens in the mind)
- By the elaboration of which (of that joy)
- The matured form of the eighteen disciplines (grammar, syntax, etc.)
- Which draws out (these two swans draw it out - away)
- From what is no good
- All the essence
- Like milk from water

They take the essence and leave the dross, from the centre of the lotus on the lake of the mind.
These birds are sharing an "un-shareable" experience - one actually, one virtually.
They are mathematically elevated to the world of the intelligibles.

SLG3 - P45


Parity in Actual Aesthetics.
This Chakra, in the descending process, becomes very real.
Here, the two swans are floating in the mind-lake, and are in charge of all aesthetic values - the Kalas.
Half of the Kalas belong to one swan and half to the other
- and there is a perfect parity between them.
E.g., if you can sing poetry, the music belongs to the Devi,
and the thoughts of the poetry belong to Shiva.


SLG3 - P45

All of the Kalas are distributed evenly between these two swans.
The Kalas can be seen as all concentrated in the lotus flower in the centre.
Here we are looking at the horizontal parity of the swans within the chakra.
The lake is what gives them the unity.


- As solely interested in the nectar of the knowledge-lotus beginning to bloom.
(they are united in the same purpose - aesthetics, Ananda)
- I adore that pair of swans
- In certain (kim api)
- Great minds moving
- By the further elaboration of which (i.e., suppositions)
- The perfection (or maturation ) of the eighteen-fold arts
- What separately draws out (extracts)
- From dross
- As from water, milk


SLG3 - P47

The Devi is made up of Aruna (magenta) and She shines forth as Aruna.
This colour represents qualities and values of universal import.
Each chakra is established by the cancellation of Numerator and Denominator at a certain level.
Each represents the beauty of the Absolute.
Here we continue the descending process and deal with Svadhisthana Chakra.
"Sva" means "one's own"; thus Svadhisthana means "having its own basis",
rising into the psycho-physical plane.
This is one degree removed from the ground.
Axiomatic certitude descends until you get ontological certitude
- on the middle ground, on the tragic line, Maya is most active.
Here, two opposite functions are dealt with.

SLG3 - P47


- In your Svadhisthana Chakra (third from the bottom)
- Fire (earth in the first chakra, fire in this one)
- Having adopted (for meditation purposes)
- I glorify the one eternally absorbed (the Devi also)
- The fire of doom (destruction, thus a prophetic context: there is no "doomsday" in pagan religions)
- O Mother
- That great female principle called Samaya, also
- By whose (joint) glance (regard) (because of them jointly)
- When the worlds are being consumed (by their glance)
- Produced by great anger (from the numerator side)
- That look which has melted by compassion
- Wintry attention makes for

SLG3 - P48

Epistemologically , Shiva and Parvati have the same status here.
Both of them are jointly responsible for the destruction.
The Devi applies a cooling glance, but the destruction must be there.
The great fire of destruction, from the Omega point, and the soothing wintry touch from the Alpha point, operate together in the Absolute.

(Max Muller says that Sankara's heights leave him giddy.)
Sankara has up his sleeve a secret final point - it requires certain initiation by a Guru and much thought.
This verse says that Shiva is a bad man, and that Parvati performs the opposite function to his - pouring water on Shiva's fire of destruction.

SLG3 - P49

A sixteen-year old disciple of Shiva was supposed to die; when the black bull came to take him away; he hung on to the Shiva Lingam, and Shiva came on a white bull to save him: so Shiva also saves.
This verse goes one step further than the last verse.
"Your Svadhisthana" - the Devi's: all the emphasis is on the Devi here.
The total function is absolute; here, the feminine principle is addressed.
Sankara's subject matter is beauty, which means percepts, not concepts.
So we do not question Sankara's emphasis on the Devi.
Here we are in the Devi's Svadhisthana Chakra, the third from the bottom, representing fire.

Anahata Chakra has been passed over in Sankara's descending process, because the counterparts there are indeterminate.
These chakras are just monomarks, put together in a kind of map to help you with your meditations.
So there is no "negative" or "positive" except as monomarks, each chakra is the same Brahman. They give you hints of a very delicate nature, to help your meditation.

Svadhisthana Chakra - "stands on its own".

SLG3 - P50

If you go to the numerator side, you cannot say anything, so Sankara dims the light, to see the filaments of the bulb, the structure.
The "tava" (your) is very important - it belongs to the Devi.

The gods in Kena Upanishad had only magnetic function, but Brahman controlled the main switch, and cut the electricity.
Then Brahman disappeared and the same space was filled by a beautiful Devi.
You cannot talk about the beauty of Shiva, so we talk about the Devi.

Beauty is made up of sinus curves and the magenta colour: it is existential.
These chakras have only linguistic and schematic status.
The schema is the opposite of numerator categories.
The numerator is light, the denominator is the colour solid.
Each explains the other. You can meditate on a colour solid inside you
- in the sky is the universal elsewhere.
Sankara has six or seven different theories to explain the same reality;
this is like Einstein having several different relativity theories for the same reality.
A pot exists in your mind as name and form: this is a schematic form.
It cannot be destroyed, even if you break the pot.

SLG3 - P51


So it is "tava" - "Your"- Svadhisthana Chakra.
It is a cross section of the Absolute for the purpose of Schematism.
There is no duality between the chakras, they are different cross-sections of the same cucumber.
As in the Pythagorean theorem, there are two proofs of everything:
one is axiomatic and one is experimental .
But the truth is neither axiomatic or experimental.

This chakra has fire as its basis. "In your Svadhisthana, I worship that fire principle (of non-being), o Mother.
Her, also (I worship both of you).
By the regard of these two, all the worlds have caught fire and continue to burn, by the anger..."

Both of them are responsible for the burning, thus: "joint glance".
Finally it is "Your" side glance, this is the Devi outside the context.
For She does not oppose the numerator of Shiva - but cools.


SLG3 - P51

They have equal status in this burning chakra, but the chakra belongs to the Devi.
This is a normalised version of the Absolute.
If destruction comes from the Numerator, it must be re-normalised by the saving principle - the cooling glance of the Devi.

SLG3 - P52

There is the total Devi and there is another Devi, and they cancel out.
Yesterday, I got ideas about the chakras.
They use circles, petals, triangles, etc..
At the centre is the Bindhusthana.(Taxonomy)(?)
"Svadhisthana" means: standing on its own.
"Muladhara" is the seat of Kundalini etc .
Finally there is the one which contains all the rest.
Sankara has taken all this and put some order into it.
He gives the greatest status to overwhelming beauty.
Consciousness can be filled by one idea.
In the passage in Kena Upanishad referred to above it says that " that very space" was filled by the Devi, Uma Haimavati.

SLG3 - P53

The Kaulins were worshipping women;
Sankara put order into the confusion between Buddhism and Hinduism.
"By the mere regard or glance of these two..."
She is responsible for the burning along with Shiva. He says: "I worship them both".
They are jointly responsible, great anger is in their hearts.
But the sidelong glance of the Devi provides the wintry touch.
(You said that they were jointly responsible, now you have the Devi functioning oppositely.)
In the fire principle there is parity between them, but the parity is horizontal and at a given level, while vertically they must have their Alpha- and Omega-point functions.
There is no contradiction here. You can put both of them together at the centre.
The Devi can let everything burn, but not the Absolute Beauty.
(How do you know? Because it cannot be otherwise. This is an example of "argument by impossibility" - anupalabdhi pramana.)
So the Devi is given a double function in this verse.
Vertically viewed, there is no contradiction here.
Horizontally, there is a contradiction.
Do not forget that in the whole work there is a slight focus on the negative side of Absolute Beauty.

SLG3 - P54

Manipura Chakra appears here, it is the second from the bottom.
The function here has to be reversed.
There are two poles in a magnet, although the magnet is the same.
At the lower level, there is the fire of destruction.
There are different levels on which you can live or die.
Here we see black clouds which shower rain on the earth
- when the Devi looked at them with Her dark cloud-like eyes.
This verse takes place in the Manipura Chakra, and the Devi, by Her dark, cloud-like eyes, cools the hot earth.
There is a rainbow here, beset with gems, and there is lightning and there is a dark cloud.
All of these functions are put into the Manipura Chakra.
There is a dark cloud on the one hand and a light principle of lightning with a glorious rainbow on the other.
Everything in this Chakra is one degree removed from earth.
But the chakra must reflect the Absolute - all chakras must reflect the same Absolute.
With great force, there is a flash of lightning which counters darkness.
Picture a dark cloud, with a vertical streak of lightning which counters darkness.
Then Indra is brought in with the rainbow, this is to supply the numerator to the denominator of rain.
The dark cloud is horizontal,
The lightning is vertical.
Indra is the numerator aspect of the rain.
When the vertical lightning is most vertical, it counters the darkness - and the resultant is a rainbow.
Now, given these three factors, Sankara will have to put them together.
A man who is engaged in meditation of a certain kind will see the following two things here, a dark cloud and a principle of light.
Why do you want the jewelled bow of Indra?
Certain persons, not everyone, can meditate with this structure in mind.
Sankara is worshipping this man.
The pundits simply do not know the meaning of the words,
they are just writing from reference books.

- Up to the point where lightning strongly counters darkness
- By its brightness
- Expressing itself through varied gems

This text was jealously guarded by the pundits, as containing secrets which they did not wish to reveal.
Kumaran Asan translated it into Malayalam - which was a bold thing to do, but he did not put in the final touches.
Three worlds are being burnt by Hara Mihira - Shiva's Sun
This does not occur anywhere in the Hindu Pantheon.

The temple at Mukambika is the centre of Devi worship, one hundred miles north of here.
Tatitvantum means "possessing lightning": who is this God?
Someone is adoring the cloud in this verse, because, at the Manipura,
near the Muladhara (earth), we are descending and have passed fire already.
Epistemology - there is no hierarchy of truth within the matrix of the Absolute.
(See the Monadology of Leibniz)
Here, we approach the earth, but we cannot give Her a second-rate, earthly beauty.
If the Denominator is earthly, like a black cloud (ontology), we insert into that cloud the Shiva principle in form of a streak of terrible numerator lightning.
"...strong by dispersing darkness".
Somebody is meditating on the Devi at a certain level, or chakra.
Chakras are like directions, North, South, East or West, for the guidance of the man who is meditating.

The "enemy of darkness" cuts across the cloud.
Hypostatic and hierophantic come together. Paradox is transcended.
The jewelled rainbow of Indra is there because we need a strong Numerator to cancel out the heavy black clouds.
There are three worlds, three phenomenal levels, in the total structure of the Absolute.
The worlds are burning and the rain comes and cools them off.
Here is a wonderful example of structuralism.


- Having lightning
- Forcefully
- By the brilliance of the enemy of darkness
- Manifesting its light (as brilliance)
- With varied jewels set with gems
- Making up the bow of Indra (God of rain on the plus side)
- Your dull-grey coloured cloud
- Of whosoever
- One who treats your Manipura Chakra as one's sole refuge
- I worship as showering (shedding rain)
- What is heated up by the Shiva-sun (Hara Mihira)
- The triple world (one world is not enough for the contemplative)
(? illegible, ed.)

Somebody is meditating on that Chakra - whatsoever it may be, in the following manner.

SLG3 - P58


If anyone can tell me the meaning of this, let him come.


The Devi is cooling the whole of the negative side, which was burning.
Both the cloud and the lightning are being worshipped.
The sun alone cannot burn the three worlds - it needs a sun still higher,
a Shiva-sun, or Omega point sun.

Shakti means a specific function or force, as opposed to that which is mathematical and noumenal.
If anyone has any objection to this, they should tell me.
I adore "that one" - this can be masculine or feminine,
The meditator or the Devi.

SLG3 - P59

All the world is an orphanage, until Shiva and the Devi come and dance in the Muladhara.
This universe is orphaned in nature, until they come to dance.
"You are in your Muladhara, together with your consort, doing a liquid, wave-like dance."
These are "new" souls. (A touch of the ever-new)
By putting these two together, by kindness.
The Absolute is kind, close to the Alpha point.
One of them is dancing one way, one the other.
Each has its own consort.
At the time that they were united in their dance, the earth acquired parents.
The two dances cancel each other out.
All the eighteen Puranas derive from the Upanishads.
No Indian writer violates the Upanishads.
If you say "Vyasa says so" that is the last court of appeal.
So there is a popular growth of tradition, for Sudras and women,
starting at the bottom and working up.
The pundits are strongly influenced by the Puranas, but not by the philosophy.
The Puranas are traditional lore.
There are two temperaments: willing to believe and willing not to believe.
The Puranas are willing, the Upanishads are slightly sceptical.
The Pundits will say : Ramanuja is comprehensible,
Sankara is too theoretical and vague.

SLG3 - P60

Get the whole question straight: it does not matter when we arrive.
What difference does it make if I wait ten more years for my salvation?
This is the normal way, and it is a better way - cool yourself.
Keep the structure in your mind, without losing any of the reality.
Here, the kindness of the Absolute is found at the Alpha point.
Kindness is just the other side of intelligence.
Their two dances represent amplitude and wavelength..
Vertical and horizontal functions - Fourier Functions (?)
This is like a hologram - putting together two functions.
These two functions - sinus functions - interact and interlace, and the whole world leaps into being.
A hologram in its aspects is just dots and whorls; but put them together and they present a three-dimensional reality.
The world leaps into parentage- otherwise it is just two meaningless holographic plates.

SLG3 - P61

Kalidasa, in his introduction to Shakuntala, talks about eight gods
- these are eight possible verticalized views of the same god.
He also says that he worships the parents of the universe.
When the vertical and the horizontal dance together in joy in the Muladhara, the world has parents.
This occurs in the Muladhara because it is the most "earthy" of the chakras.
This dance is dynamic in character.


- In your Muladhara (source, basis, horizontal firmness)
- Accompanied by Samaya (female counterpart)
- Absorbed always in Lasya (the horizontal dance, wavelength)
- I think of the new-born Self
- The great dancer of the nine artistic factors
(love, mercy, Heroism, humour, agony (tragic), terrifying,
macabre, wonder, "shantam"-the whole gamut)
(art must be represented at the lowest level chakra)
- Of these two
- Considering the law of resurrection
- Each one (thus) having a consort
- Become
- By way of father and mother
- This phenomenal universe (something in flux)

Parenthood is achieved when men enjoy women and women, men.
So, this verse recommends marriage, so the world will have parents.
The father of the universe is Shiva, the mother is the Devi.
(The boy with typhoid wanted to die because his parents always quarrelled)
Invent a way of life where you hurt no-one.

SLG3 - P62

There are two highlights: each gets a consort or companion, and they leap into vertical status by their horizontal parity - the vertical relationship is complementarity.



SLC1: Curran de Bruler´s notes, dated 30/5/71, Ooty.


P1- List of verses 1-100, with short titles

P5- Film Generalities, with verses 32-36,

P7- Verses 6-10, Verse 1

P9- Film generalities

P15- Verse 80, Film generalities

P18- Verse 12

P20- Main doctrines

P21- Verses 42-50

P23- Verses 10, 14, 15-41

P46- Verses 50-100




1) Paradox Posed as between the Field and the Knower of the Field at the core of the Absolute.
2) "Monde Affiné" - Three Agents.
3) Four-fold Value-affiliations as Among Human Beings: Quaternian Structure.
4) Primacy of Cause over Effect: Satkaranavada.
5) Reflected Glory onto Vishnu and Mohini.
6) Occasionalism Gives Power to Eros. (Springtime, Flower-arrows, etc. )
7) Four-fold Structures Superposed. (Kvanat Kanchi…)
8) Yogi's Vision of Beauty, Completely Seen. (Gem island mid-nectar ocean placed.)
9) Sadhadharas -Series of Vertical Values. (The Chakras )
10) Verticalized Series Ranging both Ways. (Kundalini, 3 ½ Coils.)


11) Sri Chakra Presented as a Conical Section View with 43 Elements of Refuge.
12) Existence Superior to Essence. (Innocent Young Maidens.)
13) Ambivalent Compensation Between Numerator Ugliness and Denominator Beauty. (Sub Specie Aeternitatis.)
14) Vertical Conic Section Numerologically Analysed.
15) Worlds of the two Dictionaries Cancelling into a Common Value.
16) Magenta Glory by Cancellation in the Minds of Poets.
17) Semantic Blending of Vertical with Horizontal Word-bearing Elements.
18) Cancellable Counterparts. (How Many, How Many Others?)
19) Revalued Partial Samayin Cult. (Atilaghu.)
20) Centralisation of Tendencies to Gain Two Kinds of Psychic Powers.


21) Thin Parameter Revealed. ( Devi's Lightning-Streaked Body )
22) Revisable Equation. (Bhavani Tvam.) No Unilateral Worship.
23) All but Omega Point Absorbed Stage by Stage by Magenta Cloud. (Crescent and Magenta Are Made Equally Thin and Cancelled.)
24) Transcendence Within Brackets.
25) Absolutist Worship Transcends both Ontological and Teleological values. (Puja puja.)
26) Quintuple Functions Abolished. Five-foldedness of Phenomenal Functioning Absorbed by Vertical Axis. ("He Does Sport Alone")
27) Homogeneity of Physical and Metaphysical Worship when Treated as Ensembles.
28) Shiva Survives by Pure Verticality Between Two Limits. (Poison and Marital String.)
29) Eternal Present Movement in the World of Intentionality, Dignity of the Devi and Shiva.
30) Self and Non-Self Reciprocity in Attaining Psychic Powers: the Worshipper is Worshipped as a Result.


31) 64 Know-how Factors and their Negative Counterparts.
32) 3 Sets of Monomarks for Distinguishing 4 Limbs as Pertaining to the Heart.
33) Dynamics of Hedonistic Ritual. (Mahabhoga.)
34) Reciprocity of Bodies. Shiva and Shakti Participate; Sun and Moon as Breasts.)
35) Descending Series of Manifest Values, Representing Chakras.
36) Ajna Chakra Described. (The Tendency or Reference is Upwards.)
37) Visuddhi Chakra. (Belongs to the Devi as Above, She is There with Shiva.)
38) Anahata Chakra. Restful Middle Chakra with Two Swans.
39) Swadhisthana Chakra. The Cooling Touch of Samaya.)
40) Manipura Chakra. A Cloud which Rains on the Burning Worlds.
41) Muladhara Chakra. They Confer on the World the Status of Being Parented.

NOTE: Ambivalence as between 31-34 and 35-41. In the last three Chakras,
Shiva and Samaya cancel out to give an absolutist Devi., but each Chakra "belongs" to the Devi.
31-34 Are building blocks, then the Chakras.


41) Muladhara.( See above.)
42) 12 Suns Fused and Verticalized into Twilight, The Devi's Crown as 12 Suns.
43) Ontological Richness as against Teleological Indigence - Even at the Hypostatic Level.
44) Vertical Parameter Produced Upwards, Invasion of Rival Horizontal Forces.(The Devi's Hairline.)
45) Central and Peripheral Ambivalence: Conical Cross-section. The Devi's Face with the Mouth as Bindu or Central locus.
46) Absolute Beauty as Enclosed within Crescent Moon Brackets. One crescent is the Mind, the Other is Matter, and they Participate.
47) Tragic Contradiction between the Bow of Devi and the Bow of Eros at Right-angles.
48) 90 Degree Tilt; Vertical Twilight Derived from Horizontal Sun and Moon.
49) Each of Eight Famous Cities has a Personality Derived from a Value Factor.
50) Jealousy between Vertical and Horizontal Value Factors. (Magenta has a Vertical and Horizontal Participation.)


51) Seven Moods or Attitudes. Karuna or Kindness towards the Devotee.)
52) Kataksha, Side-glance. (of Jealousy for Shiva.)
53) Three Gunas like Folded Japanese Fan. Through a Burst of Passion, Because the Devi is in Love, the Three Gunas are Absorbed Wholly into the Horizontal.
54) The Same is Vertically Folded .Bathing at the Triple Confluence of Rivers is Purifying.)
55) Neutral Balance between the Phenomenal and Noumenal Aspects of Creation. (Her Eyes are Half-open.)
56) Participation of Eye and Ear Interests. ( like Sapharika Fish.)
57) Lengthened Side-glance. ( Better than a Frontal Glance, Moonbeams. The story of Pancha Nalli can be used here.)
58) Ear and Eye Bow Limits, with Eros' Arrow aimed at right-angles.
59) Vertical and Horizontal Chariots Confronting Each Other. (Four-wheeled and One-wheeled Chariots.)
60) Interaction between Perceptual and Conceptual Values. (the Devi's Telephone Call.)


61) Levels of Inner and Outer Plenitude.
62) Figure-8 Dance in Search for Parity between Redness of Lips and Teeth.
63) Participation in Terms of the Enjoyment of Moonlight. (Sweet and Sour Alternate.)
64) Adhyasa: Participation at the Tongue-tip. (the Tongue-tip and a Crystal Image Participate with each other.)
65) Polyvalent Participation, with Reservation by Skhanda.
66) Line of Separation.(Her Vina Covered with Cloth.)
67) Father's Touch on Her Chin is Static, Her Husband's is a Dynamic Figure-8.
68) Contrast Puts Absolute Beauty into Relief.
69) Three Subtle Vertical Levels of Music.
70) Fourfold and One-to-one Correspondence at Two Levels.


71) Bracketing within upper and Lower Limits. (The Vedantic Contribution.)
72) Mutual Adhyasa ( Mutual Error between Mother and Child; Hallucination both Ways.)
74) Descending Parameter from Pearl to Ruby to Black.
75) Milk of Wisdom Equated to Words of Wisdom.( Dravida Shishyu.)
76) Parameter Continued below the O Point. (Eros Dives into a Navel-lake.)
77) Pure Structuralized Space Reduced to Ethereal Shreds.
78) O Point with Four-fold Polyvalence.(Aspects of the Devi's Navel.)
79) Precarious Vacuity at the O Point. ("Let There be Security Forever")
80) Reciprocity Between Horizontal and Vertical Tendencies in Life. (Eros Saving the Tragedy of Double Negation.)


81) Figure 8 Circulation between Existence and Subsistence. (Ponderability and Expansiveness.)
82) Knee Callosities and Frontal Lobes of Elephants Compared and Cancelled.
83) Universal Concrete Gets Primacy with Arrowheads Simulating Toe-nails.
84) Cancellability of Vertical Limits: the Bottom Limit of the Vertical Axis Becomes the Top of the Next Vertical.
85) Mystical Thrill at Different Levels of the Vertical Axis, Extending to Lower than Human Levels.
86) Ontology Meets Teleology Rather Abruptly; Shiva is Indifferent to Nominalism.
87) Four-fold Circulation of Values Between Two Pairs of Lotus Feet.
88) A Pun on the Conceptual and Perceptual Import of Value. (Shiva Lifts Devi's Foot.)
89) Hypostatic and Hierophantic Values Reviewed Together under the Aegis of the Absolute. (Chandi, the tragic one.)
90) Vertical and Concentric Absorption in the World of Absolute Value. (Let my Life Go…)


91) Ontological Limit Structurally Understood and Revised Conceptually.
92) Downwards Normalisation of the Devas from the Omega Point. (Shiva's Canopy.)
93) Transparent but Firm Ontological Innocence in a Girl. (Curly in Hair.)
(There is a gap here at bottom of page - no verses 94-100 )

SLC1 - P5


Saundarya Lahari: Source C1 - Curran's notes dated 3 April 71, Ooty
Contents: 32 to 41 reviewed, Generalities : "The struggle to begin",
Doctrines of Verses 1 to 10 and more struggles,
running commentary 42 to 100,
verses described in One World, 1 to 60.


The Kaulins (relativistic Tantris) are to be given credit as far as they go.
The whole of Beauty is contained in the totality of "Your component limbs".
To keep them all in mind, the factors are given letters as monomarks, then placed in Mantras corresponding to figure-8s - this is Sankara's revaluation. This is the Dravidian approach.






Here is described the Vedic method, as opposed to the Dravidian one of the previous verse.
Here again there is a cancellation with the two sides held together in the source at the centre.
Put the three words in your charm, "O lone and eternal one.."



Again, there is a revaluation by Sankara: "Maha Bhogya" ("Great Enjoyment" ) is given an absolutist status, plus the cancellation.
Attaining to pure Vedanta is like having the philosophers' stone.
The Brahmin keeps on praising the Devi with Numerator mantras and pouring Denominator ghee to get benefits from her.
"Mahabhogya"-the greatest delight is copulation.
Thus there is participation between Numerator and Denominator at the O point.
They are continually praising and ever sacrificing, meaning that they are sub specie aeternitatis, or under the aegis of the Absolute.
Sankara is telling us how to make the Vedic ensemble acceptable:
"Try to include all and exclude none".
The Gita tradition accepts worship in all forms.
Note the overlapping levels of abstraction and generalisation:



"You are the body of Shiva…", "…new and sinless self", "…sun and moon as twin breasts": with this verse, Sankara is adding a Numerator to the relativistic eroticism of the Kaulins, thus there is a new body with breasts, descending from the Numerator side.
Sankara wants to cancel the lower eroticism with a higher one.
He has first proven in Verses 32 and 33 that he knows the secrets.
Between matter and mind there is a neutral Truth.
In this sequence, the previous positions have been given, now comes Sankara's revaluation.


Here we have descending dialectics: the Devi will not live in a cave like Shiva,
but has her reference on the negative side.
She assumes a universal body, presenting herself to her husband.
This is in contra-distinction to shaven-headed Jaina nuns, etc..
"You yourself wanted to become the bride, so that Shiva could love you":
all of life is a love affair.


"Shiva Ultimate.." is placed in the "Willing Centre", between the eyebrows of the Devi.
( Like a magenta spot of kumkum placed between the eyebrows, this indicates that Shiva is sitting there meditating.)


The psyche has a positive side, which is the realm of the intelligibles,
"…shining with the brilliance of millions of suns and moons".
The sun and moon are bracketed here as celestial luminaries, presiding over day and night.
"Beyond the reach of sun, moon and fire": fire can be escaped in two ways;
down into the water, or up beyond the sun and moon.
Beyond the world of necessity, there is the world of the intelligibles,
while the Devi wants to live downstairs, teaching dancing and singing to the children;

She is happy in the basement.
There are two worlds of light, one is of ordinary light,
the other of double negation.
The Devi lives below in the light of double negation,
Shiva in the "world of the intelligibles beyond", in the world of normal light.

SLC1 - P7

( fragment beginning with Verse 6)

In VERSE 6 half of the Devi's body is filled with eroticism; eroticism is normal bliss.
You cannot throw eroticism out of the picture as Christianity does.
The Absolutist picture gives Eros a place in the Devi's legs.

In VERSE 7, the Devi as "Purushika": do not try and copulate forcefully with Her: the Absolute cannot be defeated.

In VERSE 8, the Yogi has to meditate on something: a gem-island.

In VERSE 9, stable positions of cancellation ascend on a vertical axis.

In VERSE 10, there are two "trees of Porphyry"- one spreading upwards, the other downwards.


SLC1 - P7

Double negation is shining like a polished door; "prize me no prizes, for my prize is death "
Milton's "dark-splendid": there is no real poet who does not know this double negation.
In the case of the Abhisarika woman, (in Kalidasa's Ritusamhara) the lightning does two things: it lights her path and it helps her to appreciate the vertical aspect of her passion.
She is the Self, which has two references.


The Abhisarika woman in Kalidasa - horizontally, she breaks the pearl necklace and the pearls drop one by one onto the ground.
She wants go both horizontally and vertically: the fire to copulate has another reference, vertically placed, it is represented by sunlight.
Vertical and horizontal aspects of her passion participate and reveal the Absolute.
When you can appreciate this, you are a mystic.


She says: "It may be the Himalayas, it may be midnight, but I am going anyway because I badly want a child". Passion is what is found in her heart and sunlight reveals the vertical aspect of the same.
Kandukavati, Nataraja, thunder and lightning, the Abhisarika woman; they can be telescoped together into a paradigmatic cliché to be repeated over and over again after the basic portions of the cassettes.
Introduce some well-thought-out representative clichés or ideograms:
put three circles around them and treat them as chakras.

There is a common subject matter to verses 1 and 2: the phenomenal and the noumenal and the cancellation of the three functions of creation, preservation and destruction.

In the "Darsana Mala" by Narayana Guru there is cancellation into absolute value
In his "Atmopadesa Satakam" the pure Absolute is at the Omega point.

In Verses 3 and 4: Ontology is contrasted with a teleological approach - there is a normative centre.

Atmopadesa Satakam deals with Triputi (the" tri-basic prejudice" of seer, sight and seen),
The Darsana Mala: with bipolarity

Although the methodology for all Vedanta is roughly the same, we can find a doctrine appearing in different places: it can come at the beginning or the end.
Narayana Guru fixes the Omega Point in the first verse of the Atmopadesa Satakam.

Thus, the Guru from this point on gives up trying to treat all three works together,
he will work only on the S-Lahari verses.

VERSE 1 all of life is a love affair.

Absolute Beauty is the result of cancellation.
Creation, which exists, subsists and has value, is beauty.
You meditate on the Devi and establish a bi-polar relationship with the Absolute.
A yogi can meditate on a certain abstract principle of Absolute Beauty, leading to an understanding without logic- through the emotions and intuition- something you can experience: then you will establish a relation between the Non-Self and the Self which will cancel out into a joy forever.


The Guru is still baffled about how to treat the verses, but has the idea of a stereotyped picture to be repeated throughout the film; the Devi's form with chakras, Kandukavati ascending and Nataraja descending, with a yogi meditating at the Alpha Point : this seems like a permanent advance.
Education and entertainment are to be kept separate; begin by taping the educational portion in black and white.

The following verses are to be treated singly, showing normalisation after cancellation:
7: "Kvanat…"
11: Sri Chakra
18: "Tanuchaya…" (magenta patches)
22: "Bhavani Tvam…"
29: "Remove Brahma's crown…"
36-41: The chakras in descending order treated as one.

18 April.
Some progress has been made:

1)We must telescope the whole thing together for purposes of a synaesthetic, videotronic holographic, stroboscopic (etc.) cinema of light and colour with the appropriate soundtrack.
Not understandable, no explanations.

2)Then Video cassettes will be made as linear cinema in the form of lessons to be viewed at home to explain what was seen in the colour film: a full close-up explanation.

19 April.
From VERSE 42 on, the methodology changes to descending dialectics.
The periodic table descends from hydrogen to the heavy metals.
You can find God in the sky, in the luminaries on the positive side and also in the mother's milk on the negative side.
Carbon 6 is found in the middle - it is capable of joining with others to form the horizontal dimension, all living beings need carbon 6.
In the first of this series, 12 suns are fused into the ruby of the Devi's crown: this indicates the vertical dimension implied in twilight.
(12 suns can include 12 moons as well.)



Do not begin the film in the Himalayas with a silly Shiva, but start with a real island from the negative side.
Start with the Real on the negative side, not with the dry-as-dust Numerator.

1) Tripura Sundari is the Absolute Goddess who throws away her jewels and wears Shiva's matted hair for decoration. Thus she recognises the necessity of the crescent-moon principle; without it her behind will scatter to the four corners.
She is unhappy without a husband to balance her, to keep her personality from evaporating.

2) The Shiva principle gives "togetherness" - a correlating principle.
This is the crowning secret which Sankara wants to pass on: it will abolish the duality between Prakriti and Purusha (mind and matter).
The Eka Purusha (Primordial Person) in the sun described by Vedanta meets its counterpart in your own eye by descending through the chakras vertically through the Devi's body.

3) "The psyche is a collection of relationships": the interpenetration and relations of togetherness of value-factors in life: this is the Sri Chakra.

4) If you ever copulate properly, it is a mathematical operation: an electro-magnetic rod is being inserted into a Bindu: the result is a great delight very near to Brahman.
The light of the electric spark in the vagina will fill the whole universe.

5) The Devi as Mukambika (the Silent Mother) has something to say by way of normalisation:
6) Let us begin here and now with the ontologically real: you can prove God from here; put yourself first in the proper perspective - where do you belong?
"Somebody is talking about an Absolute Goddess. I will place myself as a supplicant worshipper, I am a humble person placed below the Alpha Point".
The worshipped must be superior to the worshipper.
Thus I am at the bottom of a vertical scale of values.
Then "Shiva shaktya yukto..." (Shiva is united with the Devi)


6) All this world results from the interaction of electricity and magnetism.
A black cloud crossed by lightning (like thinking) is like an elephant.
A cloud with a vertical axis: this is the "thinking substance" of Spinoza.
Begin with a chakra, a man is meditating, show a circle for consciousness.

7) There is no proof for there being only one truth, there is nothing to say to a pluralist. "I am a human being seeking truth, I will not get off until the last bus station. You stay here if you don't want to go to the last stop: I am going on."
At the last station is the golden-bearded, blue-eyed man in the sun, talking to the man in my eye.
When the neon is about to be lit, there is glowing at the Alpha and Omega Points, then the whole tube bursts into light."

8) Method: Start with a negative island with the Island-Sleeper, Sankara: he believes in one truth, plurality and paradox are not accepted.
He is an akrta punya (a person of no relativistic merit) who does nothing but pass through the field from Alpha to Omega. He will say: "I am not playing the game, but only explaining certain things to clarify life for people".
Show a magenta sunset, thus including the subject-matter of the whole work.
Show a black dot (the island) coming nearer and nearer..
Twilight and evening are very important; reduce all twilights and rainbows to a Sri Chakra.


9) The light of Vedanta is a double light, both from double assertion and double negation.

Allah is light - all right. But there is an Absolute Light hiding on the negative side, in the square root of minus one: the light of the atom bomb.
Pray not to Zeus, but to the circle in your stomach that is the Devi.



The Guru's space has cones and chakras and conic sections.
The Devi's garland between her breasts is a hyperbola coming from the other side of the universe, like Halley's comet, which appears, then goes to the other side of the universe.









11) The Devi has to depend upon Shiva as a catalytic agent, an unmoved mover.
The moving side is horizontal - Parvati.
The unmoving side is vertical - Shiva.
Evolution is all right for the Devi but not for Shiva.
Together, some colour evolution is all right, like a ripening mango, but not chemical evolution.

12) The Devi copulating from above is supposed to be one of the great secrets of Tantra in Bengal: interpenetrating triangles can point either way: in any case there is a cancellation between penis and Yoni, whichever is ascending or descending.

13) The Devi's function is horizontalization, the evolution of colour into magenta:

She is:
Aruna (magenta), when seen from the Numerator side,
Karuna (kindness), when seen from the Denominator side.
So, the essence of the thing is the vertical parameter and colour mathematics.


14) Sankara states that he is an akrta punya (a person of "ungained merit"): there is no papa or punya, no sin or virtue: no holiness or light-waving or Ganges etc. in Vedanta.
Vedanta has nothing to do with Brahmanism
"- do not ask me to worship in a temple, if I speak of Vishnu etc. it is only to transcend him".
This must be brought out in the first verse.
Sankara does not worship the Goddess, he is outside the picture.
Vedanta is the negative approach - Nivritti Marga- just understanding - no ritual.
Brahmavit brahmeva bhavati. (the knower of the Absolute becomes the Absolute)
The Veda ends, then comes Vedanta: cut down the Vedas.
Chatusutri: The first four sutras of the Brahma Sutras must be studied:
1)" Now therefore, let us study about Brahman." (Who? See Sankara)
Jnana karma samucchaya is the promiscuous mixing of action and wisdom
Samucchaya is bad
Samanvaya is good
Do not mix the Vedas with Advaita Vedanta.
Nivritti marga and pravritti marga, the negative and positive paths:
you cannot have the same medicine for both tightening and loosening the bowels, the two paths cannot be practised together.
Jnana karma samucchaya: to distinguish between the two above,
Advaita establishes an equation between the two sides: this is samanvaya
See Chatusutri for the epistemology of Vedanta.(Sankarabhasya: the commentaries of Sankara)

Samucchaya is mixing the two, wisdom and action, with contradiction ; retaining the contradiction
between Veda and Vedanta.
Samanvaya is equating the two vertically so that it does not matter.
It is objectionable or not, depending on the perspective taken.

In and through the ritual, it is transcended through double negation.
Cancel out the subject and object by pouring ghee (clarified butter, used in religious rituals by Brahmins)
This is the same as Tat Tvam Asi, Thou art That (the Absolute).
Ritual can be transcended in, through, by and for itself:
do not oppose it, it will never end:
do not attack it horizontally, attack vertically.
Go see places, get away from it all.


Method; show an island-sleeper (Krishna Dvaipayana) turning into a map of India and into the Himalayas.

The Guru's contribution concerns the structure of the rainbow,
The rainbow is a Kama Deva, an Eros-figure - you get the right to talk about one colourful god already: put Kama Deva in the centre.
This gives at once a frame of reference, especially a double rainbow; you can do the same with a crystal.
If you take a plane 50 miles to the other side of the rainbow, you will see the opposite of a rainbow, a black rainbow - it cannot be otherwise.
The rainbow is independent of time and place: universal concrete truth.
It has a value: "My heart leaping..." This is like a god.

The Advaitic Approach to Duality.
"The play is the thing." i.e. life and dreams are the same thing, thus let the Guru represent himself as the head of the Gurukula.
The Rishis (sages) said: "Cancel out duality within you somehow. "
"How is this world related to me? How am I related to this world?"
This is the central question of all philosophy..
Advaita tries to relate the visible world with the intelligible, the objective with the subjective.

"Something is making an impression on my senses, and I am trying to understand it".
Adyatma, Adibhuta, Adidevata = Psychology, Cosmology and Theology.
These are three methods of research or inquiry known to the Rishis (sages), but not so clearly itemised in Western Philosophy.
We look around and ask:" What is this all about?"
We get three answers.
Let us console people who are suffering and say:
"Here is a book which seems to give us answers in a highly intuitive form."
Human beings are travelling in a ship, you should know which end has the rudder and which is the front.


Some Verses Briefly Looked At.


Show Shakuntala being mocked; she carries a golden pot almost the same shape as her breasts. Borrow from Kalidasa.
The breasts are sometimes golden pots, sometimes ruby pots: see VERSE 73.

Subrahmanya is in Ajna Chakra,
Ganesha in Muladhara Chakra:
neither have sex, one is too thin and one is too fat and comfortable;
it is the man in between who has to copulate.

The Devi's legs are quivers. Her toenails are sharpened on the crowns of gods.
The point is: within the personality of the Devi there are two kinds of hardness: diamond hardness on the negative side, and hydrogen-flame "hardness" on the Numerator side.
One increases with the other, thus the crowns are whetstones; there is a cancellability between the nails and the crowns.
The bipolarity between the ontological and the teleological is brought out here, absolute hardness does not reside in any one part of the body.

When schematism is known to you with all its dynamisms you become a wise man, your consciousness becomes like that of a baby in the womb, verticalized in Lobachevskian space. You know your past and your future, what it is possible to do with yourself and what is not possible.
Guru decided yesterday it is impossible to start with a full film: start with cassettes showing the whole work in lesson form. The film can be made from the tapes later. Let the tapes be as long as needed to explain the verses completely with all supplementary stories and explanations.
There are no short cuts to wisdom, it cannot be compressed into a few minutes.
"I live in an age where there are inventions, I did not create the cinema or books; we give publicity to wisdom through these."
The vertical axis is happiness, the horizontal axis is suffering: teach people to adjust their insides; you will do them a great service.


God, according to the Guru can be in three places; in your heart, in your mother's feet or in heaven, between the eyebrows.
Whatever god they give you, ask for his functions and place him mathematically in a schema.
The contribution of Vedanta: svadharma (your own dharma - karma verticalized) is to be cultivated from the Denominator side, do not try and pick your svadharma from the Numerator side.
Start from the side of cause, and work upwards to your own spiritual progress.
Do not try to descend from above,
do not put too much emphasis on the prophetic side.

The Cassettes:
1) Cassettes of 25 minutes.
2) Education > Entertainment.
3) Classroom, cavern, ashram, campus.
4) Explain structuralism
(Schematismus, proto-linguistics, medium and message.)
5) Expanded cinema (Cybernetics, synaesthetics)

Guru decides on 35 cassettes and that the Devi must come to his rescue.
The Devi is the source of life from below,
She is how you can assert yourself positively.
So there are two limits in a person: Kundalini from below and Kechari from above.
Always swing between an island and the top of the Himalayas, with a parallelogram of forces between them.
The soul travels up and down like the Kinnaras (celestial musical beings), sometimes happy, sometimes blue; sometimes feels like Brahma, Vishnu or Shiva. Just concentrate on the appropriate Chakra, respecting the appropriate verse.
Every verse gives you a state of mind in the vertical axis.



Yoga, Chakras, Zen, Samadhi, Satori, Nirvana.
Tantra, erotic mysticism.
Modern Science: the physical world: macro- and microcosm.
Inner and outer space.
Structure: man versus machine.
Delights of mathematics.
Salad and vegetables- no meat (?)
Hate passports - like community life.


In the first verse there are three kinds of disciples:
- Paramashiva (the supreme Shiva) is sitting in the kumkum (magenta dot) on the Devi's forehead.
- The three gods are in another chakra lower down in the Devi's body.
- Sankara is outside, meditating on the three chakras.

The god in the sun will jump into the pupil of your eye and back again many times- easily - he is Eka Purusha - what results is a neon light establishing the equation between the two sides.
This is the yoga of Vedanta, Shiva embraces Parvati very closely, and thus the world comes to be: you cannot separate electricity from magnetism.
The Samkhya school of philosophy is not complete, Prakrti and Purusha (nature and spirit) are kept distinct and not finally put together.
Here the view is from the negative side which gives a close view of the horizontal: This is Satkaranavada - a philosophy starting from ontology.
Advaita is Satkaranavada, it will never ask you to believe in anything but yourself, behaviour first, belief afterwards.
Pratyaksha pramana: is the sanskrit term for the method of experimental verification, not to be discarded in Vedanta.

1) Absolute Beauty is held up as a value to be worshipped by an Akrta Punya ("person of ungained merit") at the negative limit of the vertical axis or Alpha point. Start with existence, with the created world. A simple peasant mother in an Indian village will know what to worship: the blue cloud that brings rain and life.
Show temple rituals and ceremonial: give a rough idea of spirituality in India; distinguish Vedanta.

2) A Guru or Yogi can be shown explaining something; the philosophy of Advaita.

Two doctrines are presented here:
1) No ritual building up of merit.
2) Enjoy values in life, promote yourself by understanding values at different levels.

Put the Devi in her proper absolutist perspective,
do not mix her up with the Tri-Murti (The three gods: Brahma, Vishnu and Shiva).

Half of her personality is grafted onto the Numerator side, (matted hair, crescent)
Shiva Shaktya Yukto ( Shiva united with Shakti) is a value with an ontological reference. (see Purushika in Verse 7)
Look at the Devi's feet, not her hands. Do not minimise the pratyaksha (the method of experimental verification)


1) Brahmavit brahmeva bhavati ("the knower of the Absolute becomes the Absolute").
2) Satkaranavada.(cause is given importance over effects)
3) The Devi is the result of cancellation.
The whole of the doctrine of Vedanta should be woven into the fabric of the film, tacitly.
The Saundarya Lahari can be divided into ten columns of ten verses to correspond with each chapter of the Darsana Mala: try and treat the two works as a series of parallel verses.
Include all of Vedanta Siddhanta, omit the gooey stuff.



The positive numerator side of the Goddess can be created by the poets.
The heavenly maidens understand that side automatically.
They also want to be in union with a husband on the numerator side.
Ascetics are outside the picture completely and have to supply both Numerator and Denominator by abstraction and generalisation; it is difficult for them to visualise.
Heavenly maidens supply the Denominator, poets supply the Numerator.
Beautiful maidens have verticality in their own beauty, poets have verticality in their imagination.
The Ascetics are disgruntled people whose family lives are broken up.
The girls on the Numerator side quickly appreciate the Denominator and cancel out.
The poets, who are ordinary men on the Denominator, fill the Numerator side with beautiful gods, and somehow make the cancellation.
Ascetics have to meditate 10 hours a day. They have to supply both sides of the equation and cancel them out with each other.


Use the Heuristic method for arousing interest in the students: ask the most important questions at the beginning of the tape, then answer them all in the lesson portion.
Isolate the Karuna (kindness) and the Aruna (magenta): make the people fall down and say their prayers. Rake up the problems at the beginning of each tape, but save the synergetic cinema for later. They will not be able to understand it anyway, but it will leave an impression.

Sankara is an akrta punya, a man of ungained merit, because the way of Vedanta is the negative path (nivritti marga) where merit has no place.
Say "neti, neti" ("not this, not this") until you get the square root of minus one,
Then everything takes place in a kind of negative or Lobachevskian space, like the fallopian tubes or the womb. The empty part of a woman's body is like an oven; it is a mysterious space belonging to the whole universe, containing electricity and magnetism which will polish the skin of the baby and give it colour. This is all done by a tremendous fire burning at the negative pole of the Kundalini which takes the form of eroticism - however the spermatozoon is still needed.
"I am a Vedantin: I like the negative side and take the side of the servant-girl".
In his commentary, Sankara says you can study Vedanta if you are curious, you do not have to be a Brahmin: the barrier of caste is abolished. Atato Brahma Vijnasa...
"Let me start with ontology, pass through the tube, come up at the Omega Point and transcend."

Understand the structure of a woman.
Yoga consists of recognising the servant girl.
Do not have a God; give beauty the central place and give it to a woman.
If you deal with theologies you have a problem of one being superior or inferior to another: "is Trinitarianism better or worse than Unitarianism etc?".



Narayana Guru's earlier works are poetical effusions of mystical feelings for the Absolute: he had a strong natural mysticism belonging to the soil, with a nervous system like a great cricketer.

Vedanta abolishes this world with a quaternion structure, not just by denying it. He is able to put his finger very correctly on Sankara's Vedanta, and to correct it in certain places.



Verses 1 to 10:
1- Vedanta is radical; do not ask me to come into the temple, there are no rituals in Vedanta,

2-In Vedanta the world is a "monde affiné" as Bergson calls it - a flux; a world of particle physics, not as actual as it seems.

3- Put Absolute Beauty at the Bindu (central locus) of the quaternion, do not put a comparative or relativistic goddess there: there is a fourfold structure.

4- Vedantic Methodology: primacy is given to cause - do not get lost in effects. There is a borrowed light of Absolute Beauty, a reflected glory as when Vishnu takes on a women's form as Mohini.

5- Erotic occasionalism; the arrow of Eros can hit Shiva if it is aimed vertically.

6- There is a four-dimensional abstraction and generalisation;

7- The Goddess as Purushika with four limbs bearing noose and goad, bow and arrow.

8- Conic sections; getting away to the negative side is loud.

9- There is a stable ascending series of cross-sectional positions: Chakras

10- There are ramified sets of values within the Absolute on the positive and negative sides:
two trees of Porphyry, one growing upwards and the other downwards, representing existential and subsistential values.

1)Let us understand things either in terms of Vyavaharika (immanence) or Paramarthika (transcendence), with either a common-sense or a transcendental reference. Do not teach confusion, it is the wisdom sacrifice that we want.

2) Colour involves thousands of vibrations per second. Science deals with exponential measurements: subjectivism, selectionism, and structure.
Put everything into the melting pot; a Bergsonian flux: see Eddington.
The world is a vibratory system of colour patches, there is no rigid world of things.

3) Four types of person appreciating Absolute Beauty at the centre, which is your own consciousness, the Bindu or locus common to all of them.
Meditate there and normalise your tendencies.
All four limbs are only particular instances - do not get caught in any of them.

4) The importance of the square-root of minus one - The root aspect is the most important, magnetism and electricity are at right angles.

5) You can become beautiful yourself: just think of the beauty of the Devi.
Become beautifully balanced like a flower.
Beautiful means normal.



VERSES 42-43

First descend from the ruby to the parting in the hair, that is the vertical axis - the main central road. Think of it as a river with the reflection of magenta sunlight: the high road to heaven.
It goes hypostatically to infinity.

Jainas and Buddhists come very close to the Absolute,
but you cannot worship "nothing".
They have not arranged a scale of values and given a content to Absolute Beauty or reality.
A whole series of chakras is needed without a gap between the Alpha and the Omega Points.
In the Saundarya Lahari Sankara gives them a map, showing all the intermediate stations: even if you are capable of going directly to the highest Satori (enlightenment), you had better know the intermediate steps.
There are two smells in Parvati's hair - the natural fragrance and the smell of the flowers that are put there.
The series ends with the Devi's jingling anklets teaching the cygnets how to walk.

Note: Mukambika temple is the headquarters of erotic mysticism in India.


When the two scents come together, our sin is banished.
Narayana Guru has a similar reference where he writes that a garland of three kinds of precious materials (silver, quartz and pearls) should be worn by Subrahmanya.
This is the essence of idol-worship, when the cancellation takes place, sin is abolished: c.f. Kalidasa who will cancel all evil in the body with sandal paste.
So the attempt is to achieve erotic cancellation of sin and concupiscence on your own Denominator side with such a Numerator.
A woman has a perfume rising from the leg (?) to the hair, like a flower.
We live in the gooey stuff; try to cancel it out with this: even if it is not true,
it is healthy to believe it.



Why does She have bent eyebrows? Because She is concerned for her children.
Two bows are seen in the face of the Goddess, one vertical and one horizontal, with arrows at right angles.
This is the same as the Michelson - Morley experiment with the Fitzgerald contraction and Lorentz transformation.

Just go ahead and try and make the expanded cinema portion without trying to explain the verses: let it remain as an interesting if incomprehensible oddity.
Later, video tapes can be made to explain the subtle doctrines more fully.


Twilight is the resultant of sunrise from one side and sunset from the other, 12 suns fuse into a vertical axis after one year.


Two scents coming together cancel out to reveal the Absolute.


The parting is like a river, it makes the vertical axis leading to infinity, and reflected magenta light is there.


A conic-sectional view of the Goddess; a lotus floating in water, covered with honey-sucking bees, the face is shown here.


The forehead is a second crescent, one is conceptual, one is perceptual - they come together.

She is thinking of Shiva and wears his hypostatic crown while she also has her own crown from the Denominator side - there is a cancellation between the two.


"Bent eyebrows": show the two bows with laser technique.
"Your cheap eroticism is not good for my children, go away with your cheap jokes."

She approves of eroticism only up to a point - here she is "somewhat" angry, she is more on the side of Shiva at this level.


The vertical dimension is brought in: the third eye belongs to twilight time, day is breaking.


Show different eyes with different expressions to correspond to each city - make the face of the Goddess into a map of India.



Additional Notes:


True poetry has to relate Numerator and Denominator,
this must have a visible story to be used in the film. Show Parvati and Parameshwara (Shiva) embrace: this must be understood in terms of consciousness - Numerator value and Denominator enjoyment meet and unite in inner and outer psychedelic space.



represent events as stated in this verse.
It refers to the Kundalini snake, to be explained by a proper Guru in the film.
All clarifications need to be explained by a Guru in a dialogue, clarifying all enigmas: like a lesson.
Matter and method are roughly the same: explain it all.
The Chakras can again be represented, as also the grey man meditating.
A snake coiling and uncoiling can also be represented.


The tongue is the locus here, the transition point from perception to words. .
On the Numerator side read good poetry,
On the Denominator drink a glass of wine.

1-Structuralism viewed from the Omega Point;
a contrast between Omega and Alpha Points of perspective:
At the Alpha Point is a colour solid,
At the Omega Point is a brilliant light.
Here and now, the universal nowhere and elsewhere, at a point in time;
at the O Point, the structure tends to be a matrix.
Letters of the alphabet of any language can be used as the monomarks for the various rays, held together at the core or Bindu where the feet of the Goddess can...(ends)
The whole range of possibilities from earth to sky or mind are covered here in ascending order and the pure notion of the Absolute in fully conceptual terms is represented by the twin feet of the Devi at the Sahasrara , the positive pole or Omega point.

2-The Bindu can be lit up as by a torch and pointed at any of the intermediate Adharas or stable resting places. Each will have some constant dignity by the cancellation of counterparts.

When this structural dynamism is kept in mind, the purpose of this verse becomes understood.



Four-sided semantic polyvalence is to be brought out.
The subject here is balanced poetry; a law of rhetoric is given:
Alternate two things in order to give absolute balance to your poetry: this is a rhetorical and dialectical secret.
Word and meaning have to belong together, do not get lost in the conceptualised world of description.
Show a quartz crystal with light and dark sides.
Vishnu and Kali are very, very dark: in that darkness, suddenly show the diamond that Vishnu wears.
There is a total structure to be shown in the four hands of Saraswati, or some other god, to show the conceptual and perceptual aspects.
( A big mirror in a dining hall: a poor man cannot eat the meal he sees there)

The absolutist touch is supplied by the crescent moon and the matted hair.( these are the same as worn by Shiva).
Contrast Saraswati with Bhadrakali (the terrible form of the Devi).
Narayana Guru says that the Absolute is terrible, do not say that it is not.
Humanity is in agony, let your Goddess reflect this agony.



Show the silhouette of a meditator; with a red, green or white light in the centre.
Mark six intermediate stages or chakras on the vertical axis, and represent the moving image of eternity with a figure-8.
Pass gradually from the lower to the higher.
Increase the voltage to show the ambivalence between the lower and the higher halves.

Show a radiant colour solid at the bottom, a matrix at the middle and a radiant luminary at the top.
Play with the voltage and colour techniques on crystals, make it light and dim alternately.

Let the matrix glow as if set with moonstones of different grades of fluorescence.
Show a scintillating diamond emitting sparks at the top - a blinding brilliance.
Show the imprint of red feet at the topmost point, the closing chakra, the thousand-petalled lotus, the Guru and the Vidyarthi (wisdom-seeker).

SLC1 - P25

VERSE 16 (illegible line)


This is the same thing as apperception in teaching, the fusing of the old and the new - i.e. the previous verse, of which this one is the converse.
This Verse 16 is the normative reference for the Goddess throughout this work.
The four-fold semantic polyvalence of this verse is found in Kalidasa:
Parvati is watering plants and Parvati is feeding Subrahmanya.
The pot-like breasts of a mother are a holy thing.
You can see God there, He has used his grace to fill them with milk.
The shape of the breasts is very important: it shows that the woman has been meditating very hard; that the intuition to feed the baby is very strong.


In the Bindu is the abstraction and generalisation of the total value factor.
This is semantic polyvalence.
It is necessarily vague, and it is Aruna colour: it is essence itself.
This also refers to VERSE 15, these two will be taken together.
All of these verses which refer to the Aruna colour should be taken together.



Put the face of the Devi in the Bindusthana at the centre.
Here is a closer view, in term of gems, of semantic and semiotic processes:
there is the broken diamond at the Numerator and the fluid moonstone at the Denominator.
These aspects must be blended together to give the best of poetry.
You should use a scintillating phrase, followed by something more dull;
there must be a flow between them.
Syntactic and semiotic processes are described here, it is the same idea as before, but more concentrated.
There is a lotus half-open connected with the face, there are no feet: this is a more normalised view.


The dark lines of the lotus on the Denominator, the iridescent glow of the same lines on the Numerator: then let them interpenetrate so that the lower one glows and the upper one fades, as they merge into one another. Show the difference between the cut diamond and the glowing moonstone: then refer it all to the magenta glory.
Show peasant-girl beauty and show film-star beauty

SLC1A - P26


1) The idea here is a neutral, normative colour, which can cover the whole world.
2) Bring in also the gold dollar, and the small change.
3) The deer is a vertical animal, its eyes are often referred to in Sanskrit poetry, e.g. .in Kalidasa's "Shakuntala"
Insert Shakuntala and Dushyanta making love in an arbour; a deer comes to drink water from a lotus: the deer is frightened and runs away from the horizontality.
The deer chewing the cud is so peaceful that it approaches verticality.
Dushyanta is the horizontal, and the deer are frightened of his arrows
- "your arrows are like fire on the flowers", the flowers are in keeping with the vertical.
Create an aurora borealis into which the deer disappear, then it covers the world.
The ideal woman is to be like the startled deer, not like an ascetic (tapasvi).
Horizontal and vertical are brought together in the purest context:
Dushyanta wants her to have a baby, not just to have deer for friends.
He says that the head of the ashram is trying to cut a diamond with a blue lotus and she has been waiting for just such a man to come and marry her.
She does not speak throughout the play; she represents the Absolute, and all of the action takes place around her.
As for the deer, they copulate so gently; as no-one has ever seen.
Show some beautiful heavenly damsels, then bring in some deer, and then compare the eyes of both.
Then they jump with great agility - this is the point, for the starting point of the negative side is agility, not austerity.
c.f. verses 17 and 18 of the "Meghaduta", by Kalidasa.
Some of the descriptive verses just preceding can be used - cloud, lightning, hilltop.

SLC1A - P27


Ascending eroticism is one thing, descending eroticism is mysticism.
First focus on the face, then divide into the breasts (cf. sun and moon) as Numerator to the Denominator breasts (they can point downwards.)
The face is the central locus.

1) This is a revaluation of Kaula (relativistic erotic Tantra).
2) The relative and actual side, the hypostatic and hierophantic sides: when you put them together, you get the gold dollar, when taken part by part it is pluralistic small change: it gives you a kind of psychic power (siddhi ) over women, but not salvation.
3) If you want absolute consolation, you abstract and generalise and concentrate on the Devi as the Absolute Goddess: this is quite a different thing.
This way you agitate the Devi herself "of the three worlds".


Show a degenerate city, full of temples, like Kanjeevaram, this is a picture without a Numerator, and whatever pleasure is found there is really suffering. But when the Numerator is added, then some enjoyment is possible: you will find something else of absolute value: this advice is given to some hippie by a Guru.(e.g. fanning the raja, with their tears in the air, as in Kalidasa's "Kumarasambhava", or elsewhere in his work, where the Numerator touch is needed by tired women.)
(Narayana Guru said the servant woman doesn't have time to go to the WC )
"Look at the humility of this mango tree, its mangoes reach to the ground, it is not proud".

It is not enough to negate the Denominator aspect, we must also give some content to the Numerator. The development of a chick from a vertical line in the egg can be shown.
Then the Numerator aspect here can be shown to develop from the vertical axis, with not much of a head, and thus into a four-fold structure.
The breasts (Numerator) are pointing upwards because the vitality comes from above somewhere: the source of the endless stream of milk is four-dimensional.
Vulgarity does not go anywhere near the breasts, they are fourth-dimensional.
The main thing is that the breasts have a fourth-dimensional aspect and are not to be taken lightly: a woman nursing a baby is not a joke, the function descends from above.
Make a vertical axis of fire, moon and sun.
The fire disappears, the sun dims, the moon dims and they become breasts.
There are four: two ascend and two descend, they merge into just two.
The body of the Devi is the vertical axis.
From nature: c.f. Madhu Brahmana: gathering pollen, horizontally distributed, like milk. The lower breasts are dark, the Numerator light, they merge and cancel out.

SLC1A - P28



This is a kind of complementary part of VERSE 10, they must be treated together.
There is a structural difference between them.
Both of them treated together form two structural trees; the core is the moonstone. When all the nerves meet here as spokes in a hub, one feels a certain contemplative calmness and peace.
Normalisation and centralisation are practices in Yoga.
The Numerator side can quell serpents, the Denominator can cure fever;
one side of fever is cured by correction on the other side.

The potency of the snake is cured vertically,
Fever is corrected horizontally.


Put the core into the heart, into it go the firework spokes of the Numerator and the subdued light of the Denominator, the man who meditates thus can be shown curing fever by his look.
All disease and fever come from disparity, the man who neutralises these like two inverted trees has the power to cure others.
Show the Yogi leaving his cave and going to the hospital with some water.
Then show a snake being torn to pieces by a vulture, this means the Numerator entity can correct the asymmetry of the Denominator - death is hiding at the Alpha point in the form of a snake.( Improve this example)
The bird can come and frighten the serpent which tries to climb up the vertical axis, when he sees the bird he falls down in fear. There are all sorts of possibilities with light tricks by the cameraman.
Subrahmanya can be shown fighting the Asuras, also Rama and Ravana.
Narayana Guru also had the power to defeat the pride and egoism of anyone.
Take examples from human life - animals fighting is not sufficient.


SLC1A - P29



Explain the following points:
1) Why "lightning-bodied" ?
2) The vertical axis with sun, moon and fire as Numerator factors.
3) Transcend these six lotuses and put the focus of attention above them.
4) Add the horizontal axis in the form of a forest of lotuses.
5) Relativism is to be transcended, the mind needs to be purified.
6) When these conditions are fulfilled, you can get a vision of the Absolute Goddess.
7) Inspect the vision of the Alpha point and horizontal axis from the Omega point.
This vision is a crystal-clear vision of the philosopher; a "monde affiné".
Here show the lightning first, then a vision by ascent.
This verse is complementary to VERSE 16.

Represent three Indias:
1) Kalidasa's India seen from a cloud passing over it (in his "Meghaduta"),
stress the importance of Shyamala and of Ganesha writing with his own tusk;
show the sunset over the battlefield of the Mahabharata.
The elephant (Ganesha) writing is the Numerator of space, there is a hard part of space which is both conceptual and perceptual; the fourth dimension is the baby elephant itself.
1) Kalidasa, 2) Sankara, 3) Tagore.
There is little method here, except for work with the camera man.

SLC1A - P30



April 24, 70


Begin by relativistic worship from the Numerator side, culminate in the Trimurti (the 3 gods) offering puja (worship) at a temple.
Outside the temple is the Vidyarthi (wisdom seeker): he says " Bhavani tvam.." ( "let me become you" ) and he is immediately overwhelmed: the others come out of the temple, see him meditating there and do Puja to him.
Indra, Varuna and others should be told as they leave, that out there is the one they should prostrate to.
He sees only magenta glory, the third eye, the crescent moon etc.
This is a repetition of the same image throughout, with appropriate music etc.
The boy who was a Vidyarthi has now become a Yogi (Sankara).
The Absolute is ready to be kind to you, and you should be ready to be overwhelmed.
An elderly disciple should tell the temple-goers that if they go to a certain tree,
they will see a saddhu (wandering ascetic) who has realised the Absolute Goddess.
"More than asked for boon": people are thirsty on a hot day, suddenly a terrible downpour comes.


Show a half-formed figure-8 as in VERSE 7, motherhood and pride do not go together; there is a humility and a generosity there.
There is bilateral encroachment of the negative as positive absolutism.


Finally only the mathematical crescent moon and crown of Shiva are left:
everything else is abolished in magenta glory.
The Devi has no desire or need to abolish the mathematical limit,
you cannot feed a baby with mathematical formulae.
Again, this is all camera work.
Show Shiva and Parvati together, show the change of earring.(In sculptures of the "Half-Woman Shiva", where Shiva and the Devi are fused in one body, the right and left sides are distinguished by one wearing a woman's earring and the other a man's)
The point is that mysticism does not contain man or woman, but vertically transcends both.
Show the left breast of Shiva developing into its female counterpart.
Mangoes so heavy that they touch the ground can be shown here.
Some of the horizontal aspects of the god Shiva can be shown being absorbed by the Devi, but not too much.

SLC1A - P31




1) Reverse the process of Shiva fading out completely, but leaving behind something vaguer than the magenta colour.
2) The control (?) of the Devi on the Numerator is not inoperative, however.
3) The eyebrows vibrate to show everyone in split-second alternations of light and darkness. The three gods must be shown here.
4) Bracketing - thus bringing in the phenomenological epoché.
5) A construction process and reduction process.
6) The pure Absolute remains, but not without the control of the vibrating eyebrow-twigs of the negative principle.


first show the horizontal process, see VERSES 1, 2, 26 and others.
Show magenta glory circulating; the top is smoke, the bottom is dust.


The figure of Brahma comes from the bottom of the globe;
Show the others as well, graded in realism to the most horizontal, then fade it back into vague terms, finally attaining a fluorescent glow as the vertical axis without gradations between Numerator and Denominator. It wants to evaporate, but the eyes of the Devi appear at the Alpha Point; Shiva gives in and does not destroy the globe after all.
So there is a kind of " breathing" between the vertical and horizontal aspects, finally the whole globe fades back to magenta colour and then fades out - the balance having been attained between blue and red, after alternation of prominence between them.

SLC1A - P32




1) Reference to the footstool and the placing of the hands above the crowns.
2) Eternally worshipping.
3) These three are component parts, functionally and analytically, of the Absolute.
4) Sankara: abolish the Trimurti (3 gods), recognise the eternal aspect of the Absolute, recognise the footstools, hands above; Numerator and Denominator together: include hylozoism, then it is real puja.
5) Cancel out the last vestiges of relativism, including Nama and Rupa (name and form).
6) The crown itself is not cancellable against the footstool, thus the hands at the Omega Point.


1) Show magenta becoming the three stratifications as in VERSE 2 to show the continuation of that theme, then arrive at the three gods.
2) Make them descend and do Puja-puja in the temple.
3) But not your basement Puja, orthodox and queer, Samayin or Kaulin
- a contrast with the real Puja.
4) Then the Devi appears, include the bud-like hands and the footstool:
the Devi's voltage and smile are increased as they fall to the ground, but this is not yet Puja-puja....
5) The Vidyarthi (wisdom-seeker) is now brought in, talking with his Guru, he is full of mystical experience. When he reaches the Sahasrara at the top of the vertical axis, then the Pujari (priest) of the temple comes to do puja to him.

SLC1A - P33



1) The "constant spouse" is the controlling factor from the negative side.
2) Supply the negative pole to Shiva and keep him from fading out.
3) The constant wife has the power to bring you back to life, there are other stories.
4) Link this verse with VERSE 28, the black thread of marriage, also VERSE 34 from Shivananda Lahari. Savitri and Satyavan, and others.
Colourful mountain-tops fade into a dismal kind of grey, like the gods.
Then, one of the scenes must show the Devi's power over Yama, the god of death; She does worship to Shiva, and he is willing them to live: this is descending dialectics.


is a continuation of this verse, they can be treated together.
Show the churning of the milk-ocean. Shiva drinks the poison, but does not die.
Show the bands around his neck as some kind of spectral bands.
This is Double Negation.
Show here that mere assertion (the drinking of nectar) is not as good as double negation, an example of which is priming a pump to create a vacuum.
Create any number of gods on the Numerator side - they are weak.
But to touch the Alpha point water and by double negation to draw it up by pumping is much stronger.


"Put a circle around what emanates, then equate that with me";
An equation and a cancellation are involved here.
What I do and what I am are dialectical counterparts to be cancelled out.
Numerator should become Denominator and vice- versa.
They are interchangeable.



Subject and object are a reversible equation and the object is an ensemble.
(In the universe there is Krishna, in Krishna there is the universe, as the Gita states)
Also a comparison is made between the micro- and macrocosm.
It resembles Planck's quantum mechanics, also implosion and explosion, entropy and negentropy.
Show the logarithmic relationship between the image in the microscope and in the telescope.
c.f. conversation with Maitreyi and the Hermetic secret.
A conversation between father and son: "I love my father, I love my son."
There is between them a love with a capital L.
Cause and effect become the same.


VERSES 26, 27, 28, to be taken together.


Surviving evil by double assertion.
He survives without double negation.


Equation of Self with non-Self. This is a neutral position or matrix - use the crystal here, to show equalisation.


Double negation - "Not, not" is more affirmative than a mere "Yes". Begin with VERSE 27 as in notes on previous page, then go to VERSE 28
Double Negation - show a man in a well kicking his feet in the water and saving himself.
Let it be Eros: show the milk ocean churning and the drinking of poison.


Then show the woman sprinkling water on his eyes, he survives by double assertion, the man jumps into the water and saves himself by arm strokes alone.


Whatever the number of electrons, they cancel out with the nucleus; the "H" of Planck remains unaffected:
c.f. "La Structure Moléculaire".
The parity here is reflected in molecular structure.


Certain Numerator factors of the Devi come to worship the worshipper, a subtle complementarity is to be brought out between them. Show the poor, probabilistic status of the siddhis (psychic powers),
They are small change, like electrons, not like the neutron, numerator electrons are weak, compared to the denominator neutron status of the worshipper - ontology is more important than teleology.
The inter-subjective and trans-physical relationship must be shown so that they cancel out into the vision of the Absolute.


A diluted version of the Guru giving too much power to the disciple.(Shiva)
(read Basmasura)
In the Yoga Vasishta, there is the argument between the demoness and the king, subjective versus objective.
c.f. Hercules fighting in Hades for Alcestis; cater for the groundlings.




Try to incorporate this with the other verses into which the three gods appear;
they can be put into a series, a kind of "strip" or continuous story, repeat the parts that are relevant here, do not lose the continuity. This can be finalised later.
This may be the place to give full-dress treatment to what has been said previously. Show the mandalas and the Sri Chakra, let the Devi enter through the back door, with great fanfare and blowing of trumpets; even the Brahmin can be brought in here, do not abolish him. First put the Brahmin down, then let him come in and say some mantras, with his loincloth and pigtail; give him a coconut. Then Shiva can be shown descending in a spiral on the bull Nandi, in a kind of chariot; he enters through the front door, the Omega Point. Some of the maidens must run away at his approach, there is a lot of noise. Shiva does not enter, but is about to enter, and the Devi about to rise. Bring out the meaning of the three warning shouts which are given. Show the three gods prostrating on a "second floor" stratum; let it build up just to the climax, then cut to the Vidyarthi (wisdom-seeker), and show it was all his dream or meditation.
There can be a stock of characters: the Vidyarthi, Brahmin, Kaulin etc.
It must, of course, show that the Devi does not rise, but is about to rise.



Show the firefly lights that fill the Numerator side; her body is Denominator.
The meditator also has a Numerator and a Denominator.
Let the Siddhis, (psychic powers) come and fill his Denominator side like fireflies; he says: " I am you, O Goddess…" and then he becomes worthy of worship himself.
Then show the two pictures together, forming a vertical axis, very similar to one another, with the differences gradually fading out.



This can be treated with the previous verse.
Instead of Siddhis like fireflies, show beacons and searchlights emanating from the Numerator of the Devi. Finally they merge into one column of light with the Numerator clearly indicated and the symbols of Shiva shown.
Then show a colour-solid and brilliant black at the Alpha Point.
Shiva in his radiant beauty is tempted into descending the tube;
they meet at the central locus with the usual magenta, turning etc.
The same refrain-piece can be repeated here.

"Causes the firm earth to be brought down for the fulfilment of all human life purposes": the Devi here is the Word, not as Nous, but as Logos.
Here, the Guru speaks of the Absolute necessity for the disciple to draw in all the senses, dropping a thin, vertical thread
This drawing in of the senses is Tapas or renunciation, the begging bowl.
"I am telling them that the mechanism is very delicate - that is why I insult the disciples, there is no time at which they do not want something; they must be introverted and calm."
Here the Devi comes from the opposite side to create terra firma: a negative and positive pole, and a line which is firm enough for creative evolution.
(c.f. Bergson.)
Also show a tailor cutting out along a dotted line on a cloth of many colours
- the resulting coat is the verticalized version of the cloth.
All these things, the new physics, must be studied.
Thus the Gurukula, for Jnana (wisdom), Karma (action) or both.
Here the earth descended, the Devi did not "push it up", but she caused them to meet. (c.f. Plato's Timaeus.)
Show a thread descending and something ascending, then a vague horizontal axis or "world ground" is formed. How to show this?
The colour solid: there is a terrible potential seed in the Devi, in a dark chamber with a diamond-like brightness within the darkness; again this is Double Negation.
Woman represents death, and death must be transcended in order to live.
This side of woman must first be understood, c.f. Bergson.
See the neutrino, and how it interacts with the proton and the electron.




Ariadne's thread descends and meets the ascending, and the horizontal line is vaguely formed. Bring the horizontal axis from the periphery from whence it can meet the vertical.
See the Meghaduta of Kalidasa; the fluffy hair being blown away from the cheek.
The device is continued from the boar and tusk of the earlier verse.
Bring it back and, from the periphery, we can give to the horizontal axis some of the reality of a cutting, hard and sharp universal concrete.
After giving a lot of importance to the double-dark spot in the crystal it ascends to meet the descending thread and the horizontal inserts itself from the right side.
Finally, the magenta glory remains.
See verse 27 of Meghaduta for support of the horizontal axis.


This is a fitting of the components into a total structure, so examine each of them and see where they belong. They must all join together in the heart like spokes in a hub; mention Eliphas Levi, Aleister Crowley, just to mention them.
Bring in double correction, back-to-back, the Upanishadic bird whose head is light and whose tail is Brahman, right wing one thing, left wing another.
Also bring in some other attempts to show the same thing; the hanged man of the Tarot etc.
Nomenclature and Taxonomy: you have to give names to things.
What is the methodology? Examine the epistemology. Distinguish properly the lines (structure), and the names (categories) for branches of knowledge.
c.f. Bourbaki, de Broglie, de Touche Ferrière etc.



Bring out the difference between a man who wants enjoyment in the Vedic sense and a real absolutist. But if you understand the circulation of values within the Absolute - if they worship the Absolute, even without being conscious of it, it amounts in principle to the same thing. c.f. Gita: "Those who worship me, even with wrong intentions, are as good as far as they go".


So this enjoyment is not excluded, but one can go further; from the taste of a banana to the taste of the Absolute. The latter includes the former: "worshipping Me" is the goal; if it is not perfect, we can worry about that later. If a Sudra (low-caste person) can enter heaven, then a Brahmin can also enter it. It goes without saying that some worship is better than no worship. The lower worship is all right, there is an intention to do worship, and it is better than something worse. Bring out Maha Bhoga ("great enjoyment") which implies some element of absolutism.

Show a man meditating with a rosary on the Numerator, and an Agnihotram (fire sacrifice) and a cow on the Denominator: two circulations, merging into a greater over-all circulation. The Maha Bhogi (great enjoyer) thus involved, even unconsciously, participates in the over-all value. Karma and Jnana ( wisdom and action) are put together without contradiction.
Abolish the cow and the rosary, and let the flame come into the forefront, then give magenta glory and a repetition of the theme.
You can put anything at the Omega point, as long as you can cancel: 3/3, 4/4, 7/7.... Here, let a Sannyasin teach this as one step further than mere enjoyment, which is "Bhoga Rasika": this is "Maha Bhoga Rasika" - great enjoyment - he corrects the Brahmin.


Parity - the sun and moon as twin breasts; in pure value terms they fall into the same vertical axis. Horizontally they represent the breasts, the structure has to be ontologically valid, going from what we know to what we do not.
They have perfect reciprocity, complementarity etc.
Above, the vertical and horizontal versions exist without contradiction,
the bilateral symmetry of the two breasts is not contradictory to the sun and moon, which have a vertical status: turn them 90 degrees and make the Devi with an actual body.


Abolish colours for Taoism, change to dots and lines, with dark and light lines, until she is made pure by the influence from the touch of Shiva's trident. Let the trident be just a thin line above her head; her body derived from that, then a verticalized sun and moon turned 90 degrees and descending to form her breasts.
Let her lower half be purified by a figure-8, becoming wholly illumined,
then show an amethyst quartz with light and dark sides cancelling out into neutrality, finally becoming grey.
Both persons become equally immersed in transcendent bliss.
(Keep in mind parity, reciprocity, complementarity etc.)
Equal bliss must be shown in terms of a magenta glow
- frequencies spilling out
- Ananda, with outlines of Shiva
- Parvati (Yin-Yang symbol) brass (?) and the magenta waves flowing around them.


You can have a full-dress participation of Yin and Yang.
Show the interference of two wave-lengths, making various figure-8´s, finally merging into one.
You can show an embrace from Kalidasa's Kumarasambhava here.


Introduce stratifications of the elements represented as laying out the Chakras.
The Devi is integral to each Chakra. Show a man meditating and each of the elementals as a locus within him: mind (without light), filling consciousness with alternating circulation between desires etc., also sky, wind, clouds, water, earth.
A schematised abstraction of Kali Natakam ("The Dance of Kali" by Narayana Guru) can be shown here, in outline; coloured lights only, the real dance having been shown already.



Here the chakras are dealt with in the next 10 verses and should be treated together. Play with light and brilliance. Follow the text. It is all camera work.


Let the partridge drink the moonlight like lemonade through a straw; it is filled with light, as a man who meditates is filled.


Two swans are drinking from a lotus-cup within the consciousness of the great ones.
The Denominator is being sucked up by the swans which produces the purified Numerator form of the arts.

Show the parity of the swans.


The fire of destruction cooled by the Devi is verticalized here.
This is reciprocity and not parity.


Dark and rainy with a lightning flash, then the rain cools the hot earth.
The difficulty here is the laser technique for the maturation of colours.


Show the seven dances, as positions, with Shiva and Parvati as the parents of the world. The first is brilliant, the second fluorescent, the third are the swans, the fourth is the fire of doom, cooled by her mercy- moist regard; a dark cloud, lightning, Indra's bow.
A review of elementals entering into the seasons; first a vertical series of elementals glowing; then the six seasons are enumerated and given content; bring out the cancellation and compensation of factors in each verse.
For example: the consciousness of the Chakora bird is the Denominator;
or rain and fire cancelling out;
In the last verse, we have parity.
Balance the factors at every step.


VERSE 36 (continued)

The Devi is freed from necessity by going down far enough on the negative side: this is a double negation of necessity.
Extract the square root of minus one and what do you get...(see below)
The Yogi meditates on the Ajna Chakra, the pineal eye, where Descartes says the soul is hiding.
This is the point stimulated in Khecari Mudra.(see Science of the Absolute - commentary to Nirvana Darsana)
A Mudra is a psycho-physical attitude.
Yoga is a discipline before dying.


The mind is a functional unit. "You are the mind…"
Then we have, in descending order; sky, wind, charioteer, water, earth.
The Devi has only a manifest form, she is not a mathematical parameter like Shiva.
This descent from mind to earth embodies the method of Vedanta.
The parameter goes from the psyche (mind) to the physical (earth).
Thus it is a psycho-physical abstraction.
Then you can include as many stable points or chakras as you like.
The sky is included not as a physical but as a psycho-physical entity.
Shiva has no manifest form, but Shiva and the Devi are equal vertically by complementarity.
The ovum grows into a manifest form, not the spermatozoon.
The manifest form is all negative - verified by science.
"Mental bliss substantial" is the "thinking substance".
"…triumphant rule…" - this happens when the Devi adds the Numerator side of her husband to her own negative horizontal manifestation.
Here she wears the crescent of Shiva in her hair.
The beautiful colour magenta is real and substantial like the Devi's form.
Even after the descent, nothing is subtracted from the Devi.
" Every beautiful girl is mind-produced by some god on high."


Shiva is shining in your willing centre, schematically.
(Before you die, study this and be prepared to die properly.



"Sky-generating": this is an ascending Chakra.
The Devi has parity of status with Shiva.
The light is like a fluorescent tube light.(Moonlight).
The female partridge is the Denominator enjoyer of Numerator moonlight, with the enjoyment of the bird as a factor.
Meditation on this Visuddhi Chakra on the Numerator side gives the Yogi the joy or bliss of the female partridge on the Denominator.
Shiva is better when vertical, the Devi is better when horizontal.
In what sense is it "sky generating"? In the sense of Kechari Mudra.
It is not sarira that moves the hand but the sariraka.
You just change the perspective, do not take anything away from reality.
The soul of man extends even to the fingernails, there are no grades of reality.
There is only one reality.
Brahma Sutras Shastra (illegible, ED). Take your stand here; first agree that the Rishis cannot be wrong, for they have no axe to grind. They always have their wives near. Their greatness is to want nothing and to live in the forest.
"When people who do not want anything tell you something, you can be sure that it is true."
Imagine yourself as the Denominator partridge enjoying the Numerator moonlight.


They are just poets in this world, but poetry must reveal the Absolute, so the great poet is also the great seer.
What you see objectively, (Pratyaksha, the evidence of the senses) with your eyes open, and what you see with your eyes closed (poetry) come together and you get a Chakra.
Are the twin swans real? Are they Shiva and Parvati? Sankara does not care if you call them gods or not, thus he is not essentially a theologian.


Do not be orthodox or heterodox, but neutral between the two.
The two swans combine the Numerator and the Denominator, pure art is the resultant of cancellation between these two values in life, both horizontal and vertical.
The lotus represents a locus where vertical milk and horizontal water participate.
There is an exchange of values there, the rays of art emanate from that point.
Thus, this is not just an abstract picture of a Chakra. Come near to a normalised poet's view, as in Shakuntala, Urvasi etc.
Why 9 rasas (aesthetic attitudes)? Because if it were 10 it would be a straight line at right angles and it would cancel out.
If it is perfectly at right angles you will not see any colour.


The fire of doom is at the O Point, below that is the Swadhisthana.
Put in the feminine principle to partially counter the heat of doom from Shiva's side.
Early spring adds a cooling touch to the Numerator fire.(c.f. Kalidasa).
Cancellation is the joy.


A thunderstorm verse. Certain contemplatives take refuge in the Manipura;
it is meant for one who requires hard meditation: a bandit, criminal or pirate.
It is for Sanyasins with too much Denominator who want to raise the Kundalini - not for those like the Guru, who is a round, comfortable Ganesha.
Too much Denominator needs some hard practice. Thus normalisation at a very low level. The degree of perceptionalization is left up to you.
You can have as many infinities as you like, one for each separate context.


(The first 41 verses)


The key to the whole work is VERSE 7, another key is VERSE 40.
There is the question of the number of Chakras: see VERSE 9.
In all the verses, the following prevail as rules:
1) No unilateral approach.
2) Reciprocity, complementarity, etc.
3) (omitted)
This can clear all the asphyxiation surrounding sex in the world.
Do not put obstructions to sex; the only result is oppression and ugliness, you cannot suppress people.
The Devi is reduced to Aruna and Karuna.

The first part of the work is mainly psychological, close your eyes and see Chakras.
Drk-drshya - without the seer there is no "seen".
Without consciousness there is no reality.
Without the observer there is no philosophy.
The observer is the Self, the observed is the Non-Self.
The question is how to give dignity to the contemptible lump of flesh called woman.
She is a receptacle for the seed of a man, a lump of fecundity.
But the little girl who wants to have many babies runs away and says:
"You can't catch me!" - this is something spiritual.
Jupiter = Dyaus Pitar = Shiva. His story is well known.
The Numerator is bad and the Denominator chorus is good.
When Prometheus is chained to the rock: he wanted to give something (fire) from the Numerator to the Denominator.
De Quincey, in the "Confessions of an Opium-Eater", has three goddesses, one is Dolorosa sitting with patience in the hospital waiting for someone to die. There are two others, one of terrible aspect.



"Your Muladhara" is at the base of the vertebral column.
Samaya is the denominator Goddess of the same context as the Devi, while the Devi has both Numerator and Denominator.
Shiva comes down to dance with Samaya,
all is taking place within the Devi Herself.
Samaya is the negative part of the vertical axis.
Female mercy is operating here; kindness below, conferring the renewed status of having both father and mother.

The dance consists of all the nine aesthetic attitudes (nava rasas).
On the perceptual side, the Devi is called Samayaa, on the conceptual, Samaya.


"Your Muladhara" - put it in the lower part of the Devi.
I meditate on it as located within the Devi.
The denominator Samaya is called lasya parayaa, meaning her dance is Lasya.
Maha Tandava - the great high-step dancer (Nataraja) descending from Chidambaram.
In this verse, he is a new Self like the leaves, while she is the old body like the roots.
Of the Nava Rasas: there are 9 on the Denominator, while 18 on the Numerator in the previous verse.
"Nava" means "nine" or "new".
Shiva is acting out all the 9 Rasas as he descends through the vertical axis.
(Maha Tandava Natham = actor).
God is acting everything that all men anywhere have to act.
The Absolute Devi says: "Let those two who are dancing be born again."
The Devi is crying from pity and kindness at the destruction of the world.
By electromagnetic pulsations the world has parents; think of yourself:
you were born; 9 months before, your parents were copulating; who arranged all this?
It is the Devi who is weeping, not Shiva, who is just dancing.



The middle eye seems magenta-tinged by jealousy. The eyes are open very slightly, the half-shut eyes indicate that the Devi is full of horizontal eroticism; asking someone to fall in love with her.
But the vertical side of the same Devi is represented by the magenta-tinged third eye.
Natural eroticism from the Denominator side meets with Numerator chastity :
we have here the cancellation of two delicate tendencies.




The eye is a golden lotus-bud when the Devi is feeling good, not erotic.


Magenta eyes come when eroticism obtrudes into the situation.
They can be treated together, using the same face throughout:
it requires a lot of polish on her face, like a varnished door.
(With double negation.)



Show a dancing girl in the background of the Devi's face, with the rays of the nine Rasas, enacting sentimental love, jealousy, etc.
Saraswati's face has structural lines emanating from it.
The face belongs to the soul, the soul is capable of 9 aesthetic attitudes (Rasas).


The Devi is the daughter of the mountain clan, and cannot be coquettish in a cheap way.

She has to use her eyes in a most subtle way; Her coquetry must be just as strong as Shiva's complacency.
There is homogeneity of status; extreme horizontality to compensate for his verticality.


The Gods are being created by the "tri-colour distinctness" of the Devi's eyes, corresponding to the 3 Gunas (nature-modalities).
"Bereft of passion" means half-open like a Japanese fan.
The Gunas should not be too pronounced, not too much like an effect on the Numerator side,
but half-way down the Denominator side, in between, contemplative.
The gods are nothing but horizontal functions verticalized by abstraction and generalisation.
How to see vertical reality in the horizontal face of the Devi.




Bathing in the confluence of the three rivers washes away your sins
- cancels Sattva, Rajas and Tamas (the 3 modalities of nature) and purifies you.
"Sinless" - when the Gunas are divided, there is sin: when they are joined together and verticalized, there is no sin.
So there is a structural secret to be brought out.



What we have here is the Sharira Vijnana Vada of the Buddhists or the "action cinématographique" of Bergson.
It is a doctrine acceptable within the context of Maya.
We have the creation and dissolution of the world in a constant split-second continuum.
The world is an illusion presenting itself in split-second pictures, looked at from outside.
But as a flux, from inside the Devi, there is no such alternation.
In the philosophy of Madhva duality persists.
With Sankara we have a figure-8 dynamism between the counterparts.


Sapharika fish. A vertical change and a horizontal change.
Parna means "leaf"
Aparna means "no leaf".
This means an underlying structure is going to be revealed.
The horizontal movement of the eyes becomes
.two gleaming lines.
Lakshmi wanders in the daytime in Ooty.




Two figure-8's, horizontal at the eyes, vertical for Lakshmi.
Aparna means "leafless like a twig or branch"; ramified sets.
There are two sets of values shown here - one intellectual in the eyes of the Devi, another more ordinary, concerning wealth and everyday phenomena.
The Devi is horizontal here because vitality is an essential ingredient:
the horizontal is not bad when it is very, very thin.
Gossip is also horizontal.
Think of polar co-ordinates inside a black box: the structure of thought conforms to a geometric figure.
The structure of the machine and the structure of your brain have something in common.
Travel from the eyes to a river with fish jumping; then back.
Then show a lotus pond with Lakshmi coming out; two figure 8's.
Do not try to explain these verses didactically, go to Belsen and Whitney Brothers.