Saundarya Lahari Notes


SOURCE SLP1 is a manuscript by Patrick Misson, dated "May 16 / 72"
titled " Saundarya Lahari"

PAGES 1 TO 59 notes on various works of Kalidasa, etc., as well as on lessons the Guru was conducting simultaneously with those on the Saundarya Lahari. There are frequent cross references and analogies drawn between different texts.


P1- V99, V1

P7- V7

P10- V15, V24, V25, V27

P12- V30, V31

P14- V100

P17- V32

P18- V34

P19- V35, V36

P20- V37, V14, V15, V16

P21- V36

P22- V37, V38, V39

P23- V7

P24- V33, V32

P25- Chakras from Saubhagya Lakshmi Upanishad

P30- Chakras from Yoga Raja Upanishad

P40- Main Themes of Saundarya Lahari

P45- V32

P46- V33, V32

P48- V32, V33

P49- Kalidasa's Malavikagnimitra

P52- V32

P53- V33

P55- V13, V14

P56- Malavikagnimitra

SLP1 - P1

"Beautiful Body" - this comes from placing yourself at the O point.
Normalisation is two - sided.

" Esprit Affiné" is numerator,
" Esprit Géomètrique" is denominator.

This is mentioned here because it denotes complete normalisation at the O point, where they benefit.

VERSE 1 The starting postulates are:
1) Shiva cannot pulsate without the Devi.
2) Brahma, Vishnu and Shiva worship the Devi.
3) The worshipper is outside the religious context.
On this all the 100 verses are built.

SLP1 - P2

There is a strict methodology in the Saundarya Lahari, as in
Descartes, where "Res Cogitans" is vertical and "Res Extensa" is horizontal.




Why do you want the Absolute?
The twentieth century is relativistic.
The normalisation of the relative and the Absolute is in the Saundarya Lahari.
"Long life" - everyone wants to live long.
Mukambika (the silent Devi) is normalised; the medium and the message meet :
this is protolinguism, this is the final paradox.

SLP1 - P3

Cancellation involves a vertical axis.
Complete cancellation is Absolute, there is no return.
In the Saundarya Lahari there are different grades of cancellation: the marital string, crowns, Indra, the most high God.
The final cancellation is the Vidyarthi, or Wisdom-seeker, asking for no relativistic pleasure, only for the gift of poetry or Vidya (wisdom).
Push cancellation beyond the upper and lower limits, push it beyond any horizontal taint.

SLP1 - P4

The Vidyarthi does not seek even salvation, only the gift of poetry.
"Put Your feet on my head" - an analogy with this is that the Alpha point of one octave is the Omega point of a lower octave.
Burn the seed of rebirth, planted at the base of the vertebral column.
The nearest cancellation is of hunger and food - it is Absolute at a certain level.

This is illustrated by the following example:
You faint at the dentist's:
You open your eyes :"who is this man?" this is Manas, (consciousness at a basic level)
below is Pranam (breath),
below is Annam (food)
below is Vijnanam:"I owe this dentist 5 rupees, I must run away".

SLP1 - P5

Ahamkara (not in this series) is similar - it is ego- consciousness - slightly bad.
(This example is usually used by the Guru to illustrate Manas, Buddhi, Chitta, Ahamkara )

Each one of these four is a cancellation.
Food with hunger,
Fainting with drawing breath, etc.

In mythical geography, above Manas Sarovar ("Mind-Lake") is the Sapta Rishi Mandala, where the seven Rishis pluck lotuses from Manas Sarovar and cast them upwards.
In Manas Sarovar, girls are bathing and painting their eyes in mica-rock mirrors.

SLP1 - P6

"Extremely jealous" - jealousy is sometimes bad, but is also a sign of concern for the wife.
Parvati is the ultimate limit of constancy.
Shiva is extreme jealousy.
When these are cancelled, it gives you great delight and absolute beauty, nothing is left out.

LSD is the denominator vision,
the Numerator vision is outside.

SLP1 - P7

There are 18 Kalas, nine visual, and nine auditory.
There are nine expressions - see VERSE 51

Tagore - art is when two lovers want to say "I love you" and cannot.
The poet, who is hiding in the bushes gives them expression for their sentiments.

Kvanat kanchi dhama....
Why are the breasts like the frontal bulges of a calf elephant?
How does the change from slimness to heavy breasts take place?
It is an ascending dynamism, not descending.
The purushikaa (positive version of the Devi)emerges because of the change to the fourth dimension.

SLP1 - P8




SLP1 - P9

THE FOUR OBJECTS HELD BY THE DEVI IN VERSE 7: The goad and noose regulate vertical progression.
The sugar-cane bow and flower arrow are for piercing the hearts of people.
The bow and arrow are symbolic monomarks frequent in the Upanishads.
Occasionalism is the interaction and participation of mind and matter.
(see Descartes)



A year is verticalized upwards.
Reciprocity - compensation - complementarity are all present.

SLP1 - P10

Honey, milk and grapes - this is still a sensuous paradise.
"Worship even once" perhaps there is a very slight satirical touch here.
The matted hair is negative.
(John Stuart Mill - the principle of agreement and difference, Uha-Apoha in Sanskrit - see Jnana Darsanam in the Darsana Mala and the Science of the Absolute.

SLP1 - P10

Sadashiva (supreme Shiva) is the highest Omega point, but has to be cancelled against the Devi at the Alpha point.

There is a footstool, not a throne here, it is ontological.
It is jewelled, which confers dignity on it.
This is the cancellation between hierophany and hypostasy.
See in the Gita, there is a tree with roots below and above.
The twin feet are above, the stool is below.

These are ensembles - see Cantor.
There is one-one correspondence.

SLP1 - P12

1) The wife is kicking Shiva
2) Eros mocks Shiva
3) Her behind is cancelled
4) She is teaching cygnets how to walk (see Kovillan and Kannegi)
(Sillipadhikaranam - gem-set anklets.)
5) A three-wheeled and a four-wheeled chariot.
- Shiva is mounted on a chariot, with the earth as the front wheel
6) What is Shiva's status without the Devi?
7) What is the difference between Subrahmanya and Ganesha?



Sankara rejects benefits, his position is "Tat tvam asi"- "You are that (the Absolute)" .
Puja (worship)can be done to Sankara himself, because there is an inter-physical and trans-subjective transformation.
She imitates the "jhang" sound of the anklets with Her voice: this is Numerator.
The medium is the message.

SLP1 - P14




THERE ARE THREE LEVELS OF WORSHIP: These are three grades of spirituality:
1) Doomsday dissolution
2) Shiva confers Siddhis (psychic powers)
3) The Devi confers Anima (psychic power)

Moonstone water has an upward effect as well as a downward one.
Ramanuja's Brahma Sutra Bhasya (commentary) says that you can sprinkle fire as well as water : similarly here.
Water in the moon? The moon is feminine and can also be called watery.

SLP1 - P15

Tantra is centred on Maithuna Maha Bhogya.(great sexual enjoyment):
here this is treated as athilagu or worthless.
The Saundarya Lahari supplies a Numerator:
Sun and moon are her twin breasts.
Ramakrishna learnt his Vedanta from a Sudra Sannyasin (low caste ascetic).
One should exercise common sense and also have a willingness to believe;
one should be between the two, an attitude of "Maybe, maybe not".

SLP1 - P16

Separate a parameter from the phenomenal world
Separate Shiva from Shakti.
The 64 know-how factors - the Shaktyas talk of 64 Mahanirvanatantras.
Note that 64 is 8 times 8
There are books in various libraries that claim to be teachings of Shiva to Parvati.




There are 64 degrees in the quaternion.
The Sri Chakra has 8 and 16 petals.

SLP1 - P17

A God can be represented by a letter or a mantra.
The Goddess is the totality of the Absolute.
What you ask for, you receive.
There are heart monomarks : all of them meet in the heart.





A Brahmin is offering ghee oblations into a sacred fire;
Each drop of ghee is a bead.

SL P1 - P18

The Goddess confers on Herself hypostatic status and cancels Herself against Shiva.
The hypostatic side is "sinless".
At the other side of this is double negation.

SLP1 - P19

She becomes the wife of Shiva, She returns from being a great Goddess to the first dimension as a humble wife.
(In Kalidasa's play, the perivrajika says the Queen will win - how does she know in advance?)

"Sun and moon"
There is a parallelogram of forces - the result is equilibrium all the same.

The Ajna Chakra has the moon also.
Ajna is lifted out of dross and impurity.

SLP1 - P20

Visuddhi Chakra - the cancellation takes place inside a female partridge.

365 days are arranged vertically

Cancellation of the medium and the message to make poetry.


One who can think of Saraswati in a very real sense, with matted hair,
can produce poetry with the Numerator equivalent of honey, milk and grapes.

Eroticism gives poetry.

SLP1 - P21

Fuse the sun and moon. "Millions" means intensity of light; beyond a certain point, quantity turns into quality.

SLP1 - P22



The partridge is female because the female is more negative than the male.
The cancellation here is closer together than in the previous verse.
The moonlight is subjectivised by the female partridge.

Horizontal cancellation of the two swans - central

Suffering is cancelled by the breeze, like a drop of water on a wound.
A coincidence is an approval from God.

SLP1- P23



SLP1 - P23



SLP1 - P24


Laksmi and Eros are on the numerator side.
Wealth (Lakshmi)



SLP1 - P25


1) Brahma - root of basic desires
2) Swadhisthana - six petalled, west facing phallus
3) Nabhi (navel) - crore of suns and lightning
4 )The Heart - eight petals facing downwards phallus at centre
(common to all these chakras (?))
5) Throat - Anahata, Ida and Pingala
6) Palate - tenth opening - void - the mind dissolves
7) Ajna
8) Brahma Randra - the wheel of Nirvana
- an opening shaped like a thread of smoke
9) The Wheel of space - a lotus of sixteen petals, facing upwards

SLP1 - P26

1) Brahma Chakra
2) Swadhisthana Chakra
3) Nabhi Chakra (navel)
4) Hridaya Chakra (heart)
5) Kantha Chakra (neck)
6) Taluka Chakra (soft palate)
7) Bhru Chakra (between eyes)
8) Brahma Randhra (absolute hole)
9) Vyoma Chakra (sky-generating)

SLP1 - P27

Sankara is not following the usual lines of Tantric or Yogic texts.

There are four Yogas in the Yoga Raja Upanishad:
Mantra Yoga - Samadhika
Laya Yoga - Meditation
Raja Yoga - Breath
Hatha Yoga - Seat

(Raja, literally "royal", means "public": "Raja Margam" means "public highway".

SLP1 - P28

Nine months of pregnancy.
Penis and vagina: it is vulgar to say that one is more important than the other.
(This refers to the nine ascending and descending triangles in the Sri Chakra)

SLP1 - P29



1) Wheel of Space - 16 petal lotus facing upwards - pericarp in
the middle like triple peaks - centre of eyebrows.
Instrument and fulfilment of all desires
2) Brahma orifice - wheel of Niravana, opening like a thread of
smoke - a seat of meshes - yielder of release - wheel of
Supreme Brahma
3) Brow - size of thumb - eye of tongue - skull root - power
of words
4) Palate - immortal elixir - tiny bell of the uvula - meditate
on the void
5) Throat - breadth of four fingers - left, Ida; right, pingala -
centre Susumna, clear of colour - Anahata, the unstruck note
6) Wheel of the heart - eight petals facing below - in the
centre, a phallus of light - a swan beloved of all - enchants
all the worlds
7) Navel - wide whirlpool - crooked like a serpent - serpent
power like a crore of suns - lightning - yields perfections -
called Manipura
8) Swadhisthana - six petals - centre is west facing phallus -
resembles a sprout of coral - seat of the girdle - power to
attract the world
9) Basic Wheel ( of Brahman) - threefold circle of waves - seat
of desires - fire

SLP1 - P30



1) Vyoma Chakra (sky) 16 petals - feminine principle of knowledge
2) Brahma Randra (hole) - gives Nirvana - thin thread of smoke -
watery-blue consciousness
3) Eyebrows - Bindhusthana - yields light
4) Uvula - Ida - Pingala
5) Neck
6) Heart
7) Navel
8) Swadhisthana
9) Brahma Chakra


SLP1 - P32

Nose ridge, flagstaff and tree.
Mixing Numerator and Denominator.
Flagstaff = reputation.
Is this the source of the Chakras? (nodes in the bamboo flagstaff)

Sahasrara, or 1000 petalled lotus.
slp1-p32- v9-10


These two, the Sahasrara and the Kulakunda, are mentioned in other parts of this work.

V9 - Sahasrara
V36 - Ajna
V37 - Visuddhi
V38 - Twin Swans
V39 - Swadhisthana
V40 - Manipura
V41 - Muladhara
V10 - Kulakunda
V11 - Sri Chakra - not included in the series


SLP1 - P34

Tragic and Absolutist are the same.
But the Sri Chakra is not tragic, it is an analysis.

Brahma Chakra is a black hole
Brahma Randra is a white hole

SLP1 - P35

Beauty is made up of line, light and colour.
The Brahma Chakra and the Brahma Randra are omitted
- they are mathematical and not emotional.
If you have the correct focus, you do not see anything
- it must be a little over- or under-focused.

Objectivity and Subjectivity must be adjusted.
Cancellation means only "Tat Tvam Asi" ("thou art that" (the Absolute)
- which means you cannot see anything.

SLP1 - P36

Brahma Randra - the "smoke" is a touch of negativity.
There is a slight asymmetry between the Saubhagya Lakshmi and the Yoga Raja Upanishads - as between male and female.
Sankara will not allow this slight asymmetry.
The Chakras are different.
There are slight asymmetries from the neutral point.

SLP1 - P37

Anahata - the two swans mean an undisturbed neutral position.
Ajna Chakra -
Visuddhi is slightly subdued.
Swadhisthana - sisira - means a cool morning breeze.
The Chakras are different from Platonic Idealism.

SLP1 - P38


Subrahmanya refuses Camphor - negative.
Chewing = fighting.




SLP1 P39


SLP1 - P40

Protolanguage - Metalanguage
Medium - Message
Semantics - Semiotics - Syntactics.
Connotation - Denotation
Metaphor - Simile - Synecdoche
Algebra of Geometry
Geometry of Algebra
Graphs and equations
Mantra - Yantra - Tantra

SLP1 - P41

Malavikagnimitra - her foot touches the lotus - Cancellation.
different kind of merit?
Why does the dancing master not thank Q for the compliment?
It is horizontal, he only dances, and he does not require a compliment.
The Brahmin's tricks are part of the consciousness of the Absolute
- he is the cleverest person in the play.
The king says that there is a vertical relationship between himself and Malavika. She touches her body.                                   The bracelet has passed from him to her - the relationship is firmly established but vertical.


SLP1 - P42



SLP1 - P43



Diluting the digestive juices and wasting them is also a crime.

SLP1 - P44


SLP1 - P45


1) Ka E I La Hrim
2) Ha Sa Ka Ha La Hrim
3) Sa Ka La Hrim

Ka is Kama
Ha is Hara
Hrim is the heart
After each series, the Hrileka (Hrim)is attached , making three garlands.

SLP1 - P46



SLP1 - P47


Ananda - Axiology
Chit - Methodology
Sat - Epistemology

SLP1 - P48

VERSES 32 and 33

Nama Vayanata - give name to the Goddess, Mantra, Light-waving.
Maha Bhoga Rasikaa - enjoyment - Lakshmi, Yoni, Eros.

SLP1 - P49

Saraswati with her matted hair is equated with sensuous honey, milk and grapes. Possibly there is a slight mockery of the Brahmins here.
Absolutism rejects all benefits.
Brahministic worship is rejected.

Act 3

Sorrow is felt because he is not in the fourth dimension.
If you enter the fourth dimension, sorrow goes away.

SLP1 - P50


Eros causes attraction towards the negative side,
but you feel you want to meet the girl on the positive side.

SLP1 - P51

The arrow makes you feel that you want something on the positive side.
The only way is to put yourself on the negative side
and say that you do not want her.
Both soft and hard at once.
A flower, seemingly harmless, gives rise to an ache.
The real paradox is that you seek her on the plus side, and she is on the minus side.

SLP1 - P52

The Kaulists are non Brahmins.
"Naming Her component limbs..."


SLP1 - P53


The Samayins are Brahmins
"Seekers adore you..."

SLP1 - P53


Maha Bhoga (great enjoyment) gives an absolute dimension to Bhoga (enjoyment).

SLP1 - P54

Sankara does not exactly conform to the Saubhagya Lakshmi or Yoga Raja Upanishads, because he wants to keep close to the actual - that is, the seasons etc.

SLP1 - P55

Girls pursuing an old man - the belt is the binding force of modesty.
There are binding forces at different levels.

"56 for earth..." etc. there are six levels, with the seventh level at the twin feet.
Above and below are the Brahma Chakra and the Brahma Randra, these make nine.

SLP1 - P56

The king only now begins to see her, before it was an infatuation only in the mind.
This type of feminine beauty with broad hips and slender waist is like the Sri Chakra - it is only abstraction through highly exaggerated language.

Vertical maturation is Shiva -He drinks poison and survives.
Horizontal maturation is like a ripening fruit.

SLP1 - P57

The Malaya (mountain) breeze, laden with pollen and water,
causes longing without reason - cause and effect combined
sat - asat: means existent - non existent,
anirvachaniya: means unpredicability

Pollen is masculine
Water is feminine
Together they cause fecundation.



SLP1 - P59


The Tandava and the Lasya of Samaya.
Source SLP2
Source SLP2 is manuscript in the hand of Patrick Misson.
It is undated, probably from 1972.

PAGES 1 TO 30 - SLP2 deals mainly with the Guru's commentary on Kandukavati.
Mainly dictated by the Guru for presentation at one of the World Conferences for Unitive Understanding, in 1971 or 1972.
Source begins on page 4 with a loose leaf numbered (line) 58, inserted here in the text at the commentary to that line.


P4 to P30 Kandukavati, from Dasakumaracarita

SLP2 - P4

The Upanishads,
The Bhagavad Gita,
Narayana Guru,
Nataraja Guru.
Structuralism is found explicitly or implicitly in all of these.
Nataraja Guru: "My task in life is this structuralism"

Here we have a structural view of Beauty, which is the subject matter of aesthetics.
Here we have a woman, a dancing girl.
There are dancing girls represented on the floor of Mukambika Devi temple.




Here, the ideogram of the dancing girl is used to represent Absolute Beauty.
Beneath the linear description, there is a structural secret hidden.
Why bother to find the structure? Because it works.
It is a tool that can explain Aesthetics coherently.
The same applies to the other subjects of this Conference (Education, Ethics, Geo-Politics, etc.)
If we were given a better tool, we would use it, but we have not found one.

Structuralism is found explicitly or implicitly in all the Shastras (authoritative texts) of Vedanta:
In the Mandukya Upanishad it is stated: "Ayam atma chatushpad ":
"I am the four-limbed Absolute".
The structuralism is explicit in the Bhana Darsanam of the Darsana Mala, where the four types of consciousness are referred to as the concrete, subtle, causal and Absolute.
Here, we are applying it because it tells us something about Beauty.

SLP2 - P5

The ball represents the consciousness of the girl
- she plays with the ball, or the ball plays with her.
Parity, reciprocity, complementarity, compensation and cancellability
are various relationships possible between two factors.

SLP2 - P2

Beauty becomes overwhelming when two beauties meet from different sides and cancel out.
Beauty emerges from the cancellation of two factors.
"Reach out to the beauty that is within you": Nataraja Guru.
This is the attitude of Advaita Vedanta.

SLP2 - P6

Sankara, in the Saundarya Lahari, describes the cancellation of a magenta dawn on the numerator side with the denominator magenta of a lotus, the result being Absolute Beauty.
Beauty could be described as two things saying the same thing from different angles.
If you watch a boy bouncing a ball, the ball jumps and the boy jumps to meet it - the ball bounces like the boy and vice-versa.
This could be described as reciprocity.

SLP2 - P7

Tantra glorifies the beauty inside you by describing it in terms of chakras, mandalas or adharas: these are all points of cancellation on a vertical axis.
Beauty consists of analogies between the beauty felt inside you and the beauty felt outside.
The girl and the ball represent the subject and object of the situation.
The ball represents Eros, known as Ananga, the limbless one, in Sanskrit;
or, more concretely, her lover who is watching her dance.
The girl is the lover playing with the ball, or the ball is her lover playing with the girl.
Finally, the ball is the non-Self and the girl is the Self: subject and object become interchangeable.
This could be considered as the essence of mysticism.

SLP2 - P8

Fill your mind completely with overwhelming Absolute Beauty and you are a mystic.
Inner space and outer space meet and cancel out as do Parvati and Parvata, Shiva and Shakti as verticalized elementals on the vertical axis.
We could keep in mind Bergson's image of a tailor cutting the horizontal piece of cloth and stitching it onto a vertical dummy to make a jacket.
A similar process operates here upon ontological or horizontal beauty factors.

The colour of the Goddess Uma's cheeks are compared to Himalayan sunsets.
Uma is that which is not Shiva, that is, a negative or horizontal beauty factor.
She represents residual beauty distilled from the ontological side of the universe.
She is named Uma when her mother cries out. "O do not ("u-ma") practise penance!" in the Kumarasambhava of Kalidasa.
That is: beauty has to be built up from the negative side and not brought down as in acts of penance.

SLP2 - P10

Line 1
"Jewelled seat" - The girl is seated on a jewelled throne in the Durga temple.
Her parent's palace from which she has come, and her prospective lover could be imagined as horizontal counterparts in this image which recalls the Devi seated on a couch of Shiva form on a pearly-gem island in VERSE 8 of the Saundarya Lahari, where there is also a mandala-like structure similar to the palace in this line.

Lines 2, 3, 4
"Neither anyone else could see her in the interval of her leaving her seat and entering my heart"
The girl enters her lover's heart, in other words, beauty should be experienced inside.
Objectivity and subjectivity come together in the appreciation of beauty.
What is inside you, verticalized, is outside you horizontalized, the two cancel out as subject and object.
In Vedanta, the tri-basic prejudice of knowledge, knower and known
is cancelled by self-awareness.
This cancellation is instantaneous, and not a progressive development
- thus the girl is seen between the seat and her lover's heart.
Beauty is a wonder, and a wonder bursts into the mind suddenly.
Similarly, the sexual impulse in man is something sudden and violent.

Lines 6, 7
"Is she a lotus."
God could be called good, or else he could be called goodness itself.
Similarly, in the Malavikagnimitra of Kalidasa, Malavika is described as "dance itself", by her teacher.
Lakshmi is a predicative goddess, she is "like a lotus"
- a Sanskrit ideogram for beauty
"....while the girl is a lotus (or beauty) itself."

Lines 8, 9, 10 -
"Lakshmi was enjoyed.....fresh and untainted."
She is innocent, like Shakuntala, who is embarrassed by her friend's reference to her breasts.
The innocence of a young girl is the closest you can get to the Absolute,
her eroticism is unconscious, like that of the forest nymphs
"..with startled, gentle, wild-deer eyes." of Verse 18 of the Saundarya Lahari.

Lines 11, 12
"While I was thinking.....curly hair waved"

SLP2 - P13

The intellectual desire for the Absolute is not enough.
The intellectual must cancel out with the emotional.
Her wavy hair on the Numerator side has its denominator counterpart in the tips of her fingers touching the earth.

Lines 13, 14, 15
"Took the ball.....passion."
The ball is the "limbless" Eros (Ananga) and the red patches on a darker ground could represent the black or dark blue from the numerator side, which, combined with the red of the denominator, make the magenta which, in the Saundarya Lahari, represent the cancellation of Absolute Beauty.

SLP2 - P14

Aruna (magenta) and Karuna (compassion)
between them are all the message of the Saundarya Lahari.

Line 17
"Thumb drawn in and delicate fingers spread out"
This suggests again the analogy with a lotus, indicated above.

Line 18
"Back part of the hand"
The hand is now right side up, now upside down, suggesting an alternating or oscillating movement as in a figure-eight.

Line 20
" Unsteady glances like a bunch of flowers full of swarms of bees"
The flickering of the dancing girl's eyes are compared to the movements of bees amongst flowers. The attraction of bees to flowers is constantly used in Sanskrit poetry to represent desire, as in the flowery bow and bumble-bee bowstring of Eros in Verse 6 of the Saundarya Lahari may be called to mind, representing as it does attraction along a horizontal axis with an intermediate zone between.

SLP2 - P16

The analogy of the eyebrows and the bow is found in Verse 47 of the Saundarya Lahari:

"And thus, with eyebrows somewhat arched, with eyes of bee-like beauty below, I do surmise them as making up the bow-string for this bow of the lord of love, held by his other hand, his arm and fist hiding the middle part"

Lines 21, 22, 23
" Striking it....for the motion of the ball"
The law of reciprocity is seen operating here as she strikes it hard or softly as it comes alternately with the right and left hand.
"What is on the right hand must become left, and what is above, below"
She strikes the ball without mercy, the Purushika in Verse 7 of the Saundarya Lahari is the terrible or violent side of a woman - here, the dancer is in the Kali temple - she is also Kali.
(See Max Planck's H - the force which keeps the universe together
- the energy released when an electron jumps out of orbit is a constant)

SLP2 - P17

Lines 29, 30
" She struck...musical leap"
The "musical leap" referred to is a technical term for a dance step involving springing forward ten steps to catch the ball.
This can be contrasted with the step called churnapada or "powder-legs", which describes a rapid motion of the legs as she moves back to catch the ball. This would be gravitational, while the leap was anti-gravitational; the two being positive and negative counterparts on the vertical axis.
The upward leap indicates the active inner agony of meditation, which is as important as its negative counterpart.
Finally, she brings the ball back to its point of departure.

SLP2 - P18

Lines 36, 37
"Cheeks thrilling....through joy."
The lover experiences his hair standing on end, as attributed to the Devi's neck compared to a lotus stalk in the Saundarya Lahari, or even to Arjuna in the Bhagavad Gita, as a sign of intense erotic or mystical experience.
The appreciation of beauty involves a participation or identification with it.

Lines 38, 39
" cast a side-glance....first time."
She casts a side-glance at him, moved for the first time by love,
his confidence in Koshadasa grows at that very moment.
A reciprocity or ambivalence is again seen to be operating here.

SLP2 - P19

Lines 41, 42, 43, 44, 45, 46
"Repelled the bees.....tender sprouts"
Her face is compared to a lotus and her breathing to rays resembling sprigs of flowers.
Horizontally the bees trouble her, vertically she herself is the bees.
An equation is made between herself, like a flower, and the bees which are attracted to her.

SLP2 - P20

Lines 46, 47, 48
"As she moved.....flowery cage" Made shy by the looks of her lover, she makes the ball describe a mandala-like structure in which she hides.
She is alternately attracting and repelling him.

Lines 49, 50, 51, 52, 53, 54
"When the clouds"
The ball, flower-like, has described a cage, here it becomes the five flowery arrows of the five senses (see the Saundarya Lahari Verse 6) which she strikes back from within the cage.

While she does this with her hands, however, she makes forked movements with her legs "which indicate the graces of love", a certain ambiguity or hesitation being indicated.
Toenails are compared to arrowheads in the Saundarya Lahari.

SLP2 - P21

The flash of lightning, in which terms mystical experiences or falling in love are both described, reveals the redness of the clouds, as the movement of her legs reveals the erotic element on the negative side.
Eros hides in the Devi's legs, as described in the Saundarya Lahari (Verse 76).
Lightning is a vertical phenomenon forming a parameter uniting positive and negative poles.

Lines 55, 56, 57, 58
" Thus the princess....of her feet"
The girl performs a series of motions which together should express the nine rasas or moods which the dancer is supposed to evoke.
This is also evoked in the Saundarya Lahari .
The rasas, and her movements could form a series of vari-coloured rays extending in a semicircle above the horizon as from a setting sun with its varied colours.

Addendum to P22
In Verse 7 of the Saundarya Lahari we again find close parallels.
Her belt has jewels as well as bells - sound and light alternate or interact like a stroboscope : more light - more sound, or alternatively, less of one, more of the other.
The breasts of the Purushika are like the frontal bulges of a calf elephant on the Numerator,
on the Denominator they are a mother's breasts.
Her bending and stretching makes sinus curves like the elephant's trunk.
Purushika has a bow and arrow, noose and goad.
The whole forms a schematic whole reminiscent of the Sri Chakra
(see S-Lahari, Verse 11).
She alternately urges the elephant (which corresponds to Space, while she is Time) forward with the goad, or restrains it with the noose.
The dancing girl is doing the same with the ball.
She is also doing the same with her lover, glancing at him and retreating into a flowery cage.
The bow of flowers, with its string of bees attracted to the flowers,
is alternately separating when drawn, then coming together when loosed.
She shoots arrows, which is repelling someone, but they are sugar cane and thus sweet or attracting.
Ambivalence is present here.

Line 58, continued -
"Jingled in consonance" (see S-Lahari, Verse 7)
The bells encircling her waist could be envisaged as jingling by ringing one against the other and also as jingling internally with small tongues of metal. This could be seen to be similar to the lotus in the hand of Lakshmi, and the hand of the dancing girl being itself a lotus, as referred to in lines 6 and 7 above.

Line 59
"Her lower lip...or other."
Her smile for no particular reason indicates the element of joy inherent in the Absolute.
There is no such thing as a sad Absolute.

SLP2 - P23

Line 61
"Dishevelled tresses"
Her disordered hair could be a counterpart to the rapid movements of her feet
- filling the hypostatic space above and cancelling that below.

Lines 62, 63
"Jewelled bells struck against each other"
On the horizontal perimeter there is conflict or impenetrability between the bells, they are not self-sufficient.

Lines 64, 65
Her buttocks are projecting horizontally, they are not to be rejected in a picture of all-inclusive beauty.
Their solidity contrasts with the light silk covering them, implying a correspondance with the solid breasts above.

SLP2 - P25

Lines 66, 67
" Now drawn in... now stretched out, now tossed about."
An alternation or fluctuation as in a figure-eight is depicted here;
this might be seen as taking place between the actual and the virtual and between the fields of cosmology and psychology which have to be brought together in the context of Absolute Beauty.


Line 68
"Waving ringlets"
Her tenuous hair forms sinus curves above, corresponding to the curves of her legs below.

Lines 69, 70
"ear ornaments"
The curves of her movements are repeated by the two circles of her ear-rings,
not interrupting, but enhancing the other dynamism.
There is soft and erotic flesh on the one hand - precious metals and jewels on the other.

Lines 73, 74
"her mid portion....view"
Absolute truth as represented by the cancellation at her mid-portion,
with the navel at the O point has an ambivalent quality, now visible, now invisible.
A woman's body is to be represented by two cones or triangles meeting with their apexes at the waist which is so thin as to be almost not there.
Reference could be made to the precarious vacuity of the Devi's waist in Verse 79 of the Saundarya Lahari :
"On the point of breaking, equal in state to a tree on a collapsing brook-bank."

Lines 75, 76
"Pearl necklace tossed"
The movement of the necklace is a sinus curve on the vertical axis, as are the earrings on the horizontal axis.
- a similar image is used in Kalidasa's Raghuvamsa ( Ch.6, V12-19), when the Kings make erotic gestures)

SLP2 - P28

Lines 76, 77, 78, 79
" Gentle breeze.....perspiration."
The sprouts of leaves or flowers in her ears correspond to the leafy decoration of her cheeks, as the ear ornaments of the Devi in Verse 59 of the Saundarya Lahari are reflected in her cheeks.
Virtual and actual factors meet here.
The breeze caused by the sprouts is horizontal, drying up or interacting with the perspiration descending down her cheeks, caused by fatigue coming from the negative side, or Alpha point.

SLP2 - P29

Lines 80, 81
"Her tender hands....breasts"
Her breasts protrude horizontally and are covered by her tender hand.
Her modesty is vertical.
Her bulging horizontal breasts are the numerator counterpart of her equally ponderous buttocks.

Lines 81, 82
"Having struck...more than one"
Vertically there is one ball
Horizontally there are many balls between heaven and earth.

Line 86
She bows to the Goddess at the close as at the beginning of her
dance, touching the negative starting point.

SLP2 - P30

Lines 87, 88, 89
She is followed to her residence by her lover's mind and sends back to him an arrow-like glance.

Lines 90, 91, 92, 93
The reciprocal exchange above is repeated, as in the movements of the ball.
Love is vertical, affection is horizontal.

SOURCE SLP3 is an undated manuscript in Patrick Misson's hand,
probably dating from 1972.


P1- V7

P5- Examples of Structure

P6- 4 Women in Verse 7, De Quincey, Reversible Equations

P8- V75, V80

P9- To Make a Film

P16- V1

P17- V7, V8

P19- V9

P20- V3, V4, V5, V7

P22- V8, V10

P23- V11, V13, V16

P26- V30, V31

P27- V32, V33

P28- V34, V35, V36, V37, V38

P29- V39,

P30- V40, V41

P31- Modern Thinkers

P36- Kandukavati, Piccardi, Endocrinology etc.

P37- Structuralism

P41- V66, V67, V68, V69

P44- V82

P45- V82

P46- V93, V90

P50- V75, V78, V79

P51- V80, V82, V96

P52- V97

P54- Sankara, Bhaskara

P56 to P62- Ethics

SLP3 - P1

Her hair is like a wriggling worm, becoming a figure-eight, and turning into monomarks.
The lower side becomes pure line, suggesting breasts or legs.
The positive function triumphs in the end.
It is like the weaving of a cane chair, it is made up of figure eights tied in the middle,
with the torsion holding it together.



The conical breasts imply triumph, like the protuberances on an elephant's forehead.
She holds up the flag like Joan of Arc; on the flag is Shiva meditating,
then everything disappears.
A Brahmin appears performing agnihotram (the fire sacrifice).
The verse says "let it appear", implying magic and thaumaturgy.
Beauty is the value-factor, it gives tangibility to the Absolute.
It is something you can hold in your hand.
(c.f. certitude is "like holding a gooseberry in the fist").
Shiva should not wear a necktie; Shiva's snakes should bite and should not be respectable..
Shiva and Parama Shiva (supreme Shiva): Parama Shiva should be raised still more and the parameter should become very thin.

Shiva's glory is a mounting vertical parameter.
Parvati's glory is the horizontal Ganges, flowing for the benefit of humanity.
The horizontal Ganges ascends and emerges vertically from Shiva's forehead.


The jingles on the Devi´s belt:
The sound is on the Numerator
The bells are on the Denominator
The belt is the parameter.

The smoke from the agnihotram fire by torsion turns into the breasts feeding a baby, becomes undulating countryside - Parvati's horizontal glory.
Purushika has a boy-like figure like a majorette - She is proud of the flag.

SLP3 - P2
Show a Spanish dance with a tambourine, a scarf dance with the design coming out of the scarf.
One must give content to the Absolute, not talk about it ad nauseam on a Sunday morning.
Is the Absolute an old man?
Is it a female figure?


First appears a belt of jingle bells, then torsion verticalizes the line and turns it into heavy mother's breasts, then into the breasts of a young girl like the bumps of an elephant's forehead, then into a cloud, then lines of hair.

SLP3 - P3

The figure becomes a Yin-Yang sign,
Then there are drum-beats and a strobe light effect.


Then a circle, with bow and arrow, noose and goad.
The elephant is inner space, inside the circle.
The goad and noose are for restraining the elephant and urging it forward.
The horizontal figure-eight and the Yin-Yang sign become resolved into a range of mountains.

Bergson - a master tailor has to cut the suit properly, putting dots on the horizontal stuff on the table, from which he makes a vertical suit.
Pure action and love are vertical.
Shiva is called "Chandra Chuda " which means "moon-wearer"
- the Most High God has to be thin as a crescent moon.
The vision of the Absolute is the cancellation of the Most High God and Goddess through beauty.
Mother-worship is a more ontological, more tangible starting-point than a Father God.
Ontology itself is materialism, but beauty gives it value.
Contemporary philosophy is returning to hylozoism.
Heraclitus, when he states that you cannot enter the same river twice, is describing the flux of becoming or the élan vital.

SLP3 - P4

The galaxy is moving helicoidally towards Hercules.
Religion should develop from the basis of modern science.
The days of hallelujahs are over, the hippies are putting rude questions to the pope.
(The bearded god of the Sixtine Chapel is a woman.)
The torsion in this verse is like a moebius strip.



A bitch rolling on its back to feed puppies produces a mystical feeling.
Every height is a value.
The feeling of beauty, to be absolute, must contain an "Oh!" or an "Ah!".

Horizontality is gleaming fish jumping on a misty river at sunrise.
The sheen of the river is a thin film separating concepts from percepts.
The jumping fish are the vitality of horizontality - sex, etc.

SLP3 - P5

Contrast a truck taking stones to a radio sending a message.

A child refusing to go to a stranger's hands
is both horizontal and vertical - its hesitation is a figure-eight.

A frightened deer forgetting to eat grass and running away is horizontal
- the neck is a sinus curve.

A girl hesitating to be made love to, consenting and refusing at the same time, makes a sinus curve, a figure-eight.

SLP3 - P5


Occasionalism - a butterfly on a trumpet-like flower.
Complementarity - dishevelled women pursue an old man blessed with the Devi's side-glance.
Reciprocity - an old professor with an admiring young wife - the old butler of a judge - loyalty, because they shine by reflection.
- villagers have no pomp but are glad of the king's horses and chariots - Kalidasa
- in Kalidasa's Shakuntala the fisherman caught with the ring is the chief of the fishermen, but admits the policeman as his superior - he has no feeling of rivalry and is willing to submit.

Reciprocity - Shakuntala's beautiful body is clothed in rough cloth.

SP3 - P6


1) Feeding a baby
2) Elephant bumps
3) Virtuality
4) Majorette

1) Mater Dolorosa weeping in hospitals
2) One who kicks open doors and makes you mad
3) One who frequents burial places

When you say something about God, you are also saying it about yourself.
1. Shakuntala refuses to take a flower - she says she will not disturb the flower's blossoming, as she is also getting married herself.
2. Two babies are biting an apple - one takes a bite and passes it, the other bites too much - the first one cries - they are only happy when they bite equally.
3. A mother with a dead child in church passes a mother with a baptised baby - both cry. (Victor Hugo)

SLP3 - P7

The ball in Kandukavati is Eros.
Eros >< Anti-Eros
Reversible reaction.
Gravitation > < Anti-gravitation
Psycho- physical and metaphysical
Negative acceleration
The musical leap in Kandukavati is vertical



E = MC2 is a philosophical concept, a bold generalisation.
Philosophy helps a landlady size up a prospective lodger - Bertrand Russell
(This is an example, not a definition)

Axiom - most generalized - (A=A)
Postulate -
Proposition -

SLP3 - P8

The island in the milk ocean.
The gem-set island is a nipple of the mother.
It is the most precious chakra.

VERSE 75 - Dravida Sishyu

Vidyarthi (wisdom-seeker)
Mother and child is the most basic relationship.
There is a transition from the physical milk to the milk of knowledge.
A bomb bursts horizontally
An equation informs vertically
(See Victor Hugo's reference ("Les Miserables") to two cones base to base :
"Awful plural...")


When there is cancellation, a middle term is found between two opposites.

Here there are eight levels to be found on the vertical axis.

Horizontal contradiction is parity.

SLP3 - P8

Ganesha is space.

There is a white, a red and a black elephant.

A tame elephant is peaceful space on the vertical axis
A wild elephant is horizontal space

SLP3 - P9

Narayana Guru : a prostitute is better than a doctor - both ask for money.
The Asoka tree will flower if kicked by a girl full of eroticism.
A microscopic animal which wriggles continuously in a sinus curve shape is the essence of femininity, see Narayana Guru's Kali Natakam


The truth shall set you free

The Ganges is a horizontal version of Parvati
Lakshmi is horizontal
Saraswati is a Brahmin
Kali is the Alpha point


This structure is accompanied by a "?" and is incomplete or tentative.

SLP3 - P10



First there is a rotating island, a speck or jewel in the milk ocean,
with trees like weeping willows.
A man looks at everything - meditation.
There are sunsets and sunrises in his vertebral column
- on the island also.
The chakras become an island in the sky.
The island becomes India.
Then there is a guide to religious India, villages and temples.
Then we come to a wayside temple where we see Kandukavati,
thence the Devi.
Five minutes should be given to Kandukavati.

SLP3 - P10

Then we see the other gods - Shiva and Parvati.
Then we have the colloquy of the gods, with no functions shown, but placed on a vertical axis.
Then the family of Shiva.
Subrahmanya is BOTH in horizontal parity with Ganesha
AND in vertical complementarity to Ganesha.
Then can be introduced the picture of Dakshinamurti teaching,
or Sankaracharya teaching.
Then pictures of spirituality in India.
Then show a globe rotating, with dark clouds at the equator,
then a vertical thunderbolt and the end of the cassette.
Eating food is negentropy.

SLP3 - P11


In Kalidasa's Ritu Samhara - a frog jumps out of a summer pond and takes refuge under the shade of a cobra's hood.
This is a cancellation of their two sufferings from the heat.

Darsana Mala - Chapter 6- Karma
Karma means "function"
Dewey is an instrumentalist or functionalist.
He claims Kant was an idealist or conceptualist.
Dewey says that what we DO is the important thing - this is instrumentalism.

Karma Yoga - the "organon" is the thinking self or instrument.
There is an interchangeability of actor and action.
There is an ambivalence of the self and the non-self.
There is a reversibility - actor and action are equally important.
There is a figure of speech called dhvani: the dancer is "dance" itself.
"God is not good, but goodness" - Newton.
Predicate and subject are interchangeable.
Maitreyi and Yajnavalkya, the two wives of the Rishi (sage).

SLP3 - P12

X is the brain
Y is the function
In a quartz crystal rosary, every bead is equal, but there is complementarity and cancellation at different levels.
A little touch of black in a crystal gives it beauty, like the bark garment of Shakuntala.

Agnihotram (fire-sacrifice).
Krishna as the servant of Arjuna.
A boy Vidyarthi (wisdom-seeker) in rags is worshipped by the Devi.

SLP3 - P12

Sir Edmund Whittaker -:"the plan of the universe was present in the mind of God".
There should be no Indian element - no ghee with toast.
Saguna and Nirguna Brahman (the Absolute with and without form) should be distinguished.
Concepts and colours must cancel out.

Dusyanta's son plays with the lion-cub and refuses to leave it until given a toy.
He stretches for the toy - vertical
refuses to leave the lion - horizontal

SLP3 - P13

Shakuntala goes away and Kanva cries
- not from grief, but from a sense of beauty and strength of understanding.

The Devi occupies the same space as the Absolute.

Magenta is intermediate between infra-red and ultra-violet,
it is a cancellation between the two.
It can produce all colours.
It is Absolute Colour.

The gods, such as Brahma, Vishnu, Shiva, etc. can be folded up like a fan into a cylindrical tube.
They can be verticalized until they lose their functions.


SLP3 - P13

The lake of Geneva, with the Rhone flowing through it is a horizontalization of the river.

When you read the news of a man's death in the paper:
The man is verticalized
The news is horizontal

Ginger will sprout under certain favourable conditions
It is the same with rebirth.

SLP3 - P14

Schematismus - the acorn is a schematic model of an oak tree.

In the Yoga Vasishta - a bird with its legs tied flies about = vectorial space
As the rope shortens, it flies in a logarithmic spiral.

In Kalidasa's Kumara Sambhava - Shiva and his family arrive in a cart pulled by Nandi, flying in a spiral.
A spiral staircase connects earth and heaven.
The relationship between Kali, Lakshmi and Saraswati:


There is complementarity etc between Shiva and Shakti:
Shiva should be as functionless as possible
Shakti should be as functional as possible

SLP3 - P15

Magenta is a mixture of:
The ashes of Shiva and the kumkum ( red dot on forehead) of the Devi

The Cartesian correlates.
Examples of latitude and longitude.
A woman's form viewed structurally by Indian iconography
The four operations in mathematics.




The Goddess is a combination of Shiva and Shakti.
She is superior to the three gods.
The worshipper is a man without merits - an Akrta Punya
Sankara is not a religious man.

Shiva shaktya yukto.. (Shiva united with the Devi)
An arc lamp bursts into flame
There is a paradox between two factors, plus and minus.

SLP3 - P16

Atastvam Aradhyam... a globular mirror with pictures of the three gods prostrating.
The gods, being Vedic, have merit, Sankara does not;
he is outside the religious context.
The relationship between Shiva and Shakti is a paradox.

Bowing down is existential.
"How can I praise?" is subsistential.

"Other arms than thine are explicitly expert in giving boons..."
She grants boons through Her feet - ontology.


Eros can live below the waters, but if he rises above he is cancelled out by Shiva's fire.

SLP3 - P17

Eros verticalized can disturb even Yogis and recluses.


Pythagoras' theorem has two proofs: - on the blackboard
- or by cutting out triangles and measuring them.

There is Para Brahman and Apara Brahman. (the transcendent and immanent Absolute)
Where was the law of the conservation of energy discovered?
Not in the laboratory.
Thus this first and boldest statement is axiomatic.
All mathematics is based on axioms.
The Michelson- Morley experiment is highly important, but it failed.
However it gave a frame of reference.
It depends on a right angle: here is the structure already.

A right angle triangle is in the domain of Pythagorean geometry.
A non-right angle triangle is in the domain of trigonometry.


A banana tree is pulled up by an elephant: there is an equilibrium between an ontologically stable banana tree and the elephant's trunk.
One is smooth and the other rough-skinned.
The bumps on the elephant are on the right side (?).
Purushika stands on the elephant's head, and thus gains numerator status.
A mid-ocean island means one-pointed, exclusive meditation.
The jewels are luminous.
The trees are devadharu - a celestial tree with flowers - see the Kumarasambhava of Kalidasa.
Kamadhenu - the celestial, boon-granting cow.






On the Denominator we have:
A couch of Shiva-form.
Name is hypostatic, form is hierophantic.
The cushion is Shiva himself.

On the Numerator we have:
The perfume of Kadamba trees.

At the horizontal limits we have a nectar ocean.

SLP3 - P19

Beauty is an Absolute value.
Abstract and generalise and you will get the ultimate adorable Absolute.
The word "Absolute" has no fixed content, it varies with each discipline
- it is also known as a constant or a universal.
Anything that persists unvaried through time and space is the Absolute.
Taking something existent as an idol - this is idolatry.
They make an idol both subsistent and existent.

How to give a tangible content to the Absolute so that it is acceptable to all?
Sankara: what we adore is not an object
- it is a valuable idea, sufficiently real and tangible.
This idea is Beauty, the tangible form of which is colour.
Beauty is both outside and inside the mind.

Shiva is not sufficiently mixed up in the phenomenal world - he has no function.
Shakti is manifested force.
Wherever vegetation is luxuriant, the Mother Principle is exalted.
The Advaitin fuses the two together.
Sankara represents the cult of Shakti in its revised and revalued form.

SLP3 - P20

VERSE 3 describes the three functions of the Absolute.

VERSE 4 describes the four kinds of wisdom seeker.

Sankara gives value to the Absolute through beauty content.

(Concrete) Beauty is female
The male is abstraction.

Sankara disregards the branches - he goes to the root.
The root is the Universal Concrete - the source of all causes.

The feet of the Goddess are more important than the hands with all their mudras (gestures).

The borrowed light or glory of the Absolute makes one resemble the Absolute.
Vishnu borrows the beauty of the Absolute Goddess, he even attracts Shiva.
Eros tries to defeat Shiva with arrows.
Rati's admiration gives him the light of Absolute Beauty.
Eros depends on occasionalism - the mountain breeze, the flowery season.

This is a dynamic picture of the Goddess, as abstract and as concrete as possible.



VERSE 7 uses both algebraic and geometric language.
This is a cybernetically conceived version of the Absolute.
First there is the jingle of bells on Her belt.
It begins on the conceptual side with sound,
then four compartments develop around the sound.

The elephant is a cloud, it is space, and it is Numerator.
The breasts originate in the Numerator - this is not vulgar or one-sided eroticism.
She is slim of waist - it has a mathematical status.
At the O point there is nothing, the O point is absent, it is not real,
and it is a mathematical abstraction.


Eros is below the navel O point, above he is burned by Shiva - morality, austerity.
On the negative side the mother is feeding the child.
Her face is described as an autumnal full moon.
Autumnal means not cloudy, not earthly.



The noose stops the elephant.
The bow and arrows attract Shiva.
The goad pushes the elephant
Turn the structure forty-five degrees and the dynamism is slightly altered.

SLP3 - P22

"some fortunate ones..." those trained in meditation - that is, those who place themselves in the same frame of reference - c.f. Bergson.
Ambrosia is mother's milk - an absolute necessity.
Jewels are interesting and beautiful.
Trees and flowers.



SLP3 - P23

Parity - there are two eyes, two breasts - this is bilateral symmetry.
Prakriti (nature) is a verticalized centrifugal or centripetal force.

Reciprocity - two triangles interpenetrate and the circles within them cancel out.

The structure of the universe is the structure of logarithmic curves.

A woman is already on the negative vertical axis
- there is no religion or meditation required.
Poets worship gods, make poems; women do not need this.


A woman's body is existential beauty itself

A side glance to an old man attracts women.

SLP3 - P24

The multiplication table of G = symmetry.

In this verse, Sankara is playing with numbers, like Pythagorean numerology.

The numerator value is honey, milk and grapes.
The denominator value is Saraswati as a hypostatic goddess.
The over-hypostatic value given to Saraswati is cancelled out by the honey, etc.

The Numerator is not superior: there is a one-to-one cancellation between Numerator and Denominator.
All prayers are answered.

Anything not affected by place or time is an Absolute (Sanskrit scholars )
The indigo colour is Absolute.
Magenta is the result of the cancellation of two opposites.
An electric fan is switched off but still goes on turning, in the same way, the love of ice-cream is cancelled out, but it will only be gone in ten years or so.
The poet and philosopher and seer are all used interchangeably.

Fluorescence - a semiotic process
Scintillating - a syntactic process, bursts into meaning.
This verse refers to the meaning of meaning.
Sweet >< Savoury
"Dappled" means an alternation.
Vedantic beauty is not pure white.
Switch from black and white to colour.
There are four dimensions of abstraction.

SLP3 - P26

Cancellation of worshipper and worshipped.
The cosmos is flux.
The cosmos is a fire into which the worshipper worships himself.
The Self and non-Self are cancelled out.
Fire is the best image, it is Vedantic.
Siddhis (psychic powers) are psycho-physical dynamisms. They are the like plastic spoons etc. in soap-powder packets. Free gifts of very little value.
The fire of doom is the Omega point.
The good of all is existential.
The general good is an idea.

"Life purpose" means fulfilling Dharma.
"Know-how is Tantra.

Shiva's Tantra is turned upwards
The Devi's Tantra is turned downwards.

Food and honour are two domains.
Psychic powers = Numerator - 64 rays.



"The Lord of Beasts" is Shiva at the Omega point.
"Causes to be brought down" - the hypostatic is brought to the hierophantic.

SLP3 - P27

The firm earth comes to be so that humanity can work its salvation out on horizontal terra firma.
The firm earth is needed.



The monomarks must refer to the heart - "Hrd".(means "heart")
There is a circle of peripheral letters, with the heart in the middle.

This verse gives the lower perspective of a man intent on enjoyment.



This verse gives primacy to hedonism and the three gunas.
Sankara recognises this attitude but damns it with faint praise

SLP3 - P28

A "new body" on the numerator side.
Shiva is bodiless.


Shiva and Shakti have parity and equality of status










Partridges are supposed to drink moonbeams.
Visuddhi chakra is towards the negative side of fluorescent light and diffused moonbeam-like light.
The Devi meets Shiva as parity on the horizontal axis, they have equal status from that point down.
The partridge gets drunk at night on numerator moonbeams - Soma.

Visuddhi Chakra has subsistential existence and parity.
It also has existential existence and parity.

Milk and nectar are mixed on the denominator side.
The swans stretch their wings and virtual and actual meet.
Light changes from fluorescent moonstone to pearly lustre.


Svadhisthana Chakra
A night breeze is a cancellation of the heat.

SLP3 - P30

The three worlds are burning, but a cloudburst occurs.
Waters fall on the parched countryside.

Shiva and Parvati dance in the Muladhara Chakra.
There are two kinds of dance:

Tandava corresponding to Shiva and Lasya corresponding to the Devi
The nine rasas are all expressed by them


The dance confers parenthood on an orphaned world.



The word "Stop!" is a sign, the red light is a symbol.
There are two proofs of the Pythagoras theorem -



SLP3 - P31

Post -Einsteinians such as Eddington and Whittaker.
Eddington states that there is a structure hiding in the universe.
"Concepts are the study of physics" - not percepts as hitherto thought.
What is arrived at by calculations is verified by experiment.
There are two cones.
See "Les Miserables" - there are two abysses.
One cone is ultraviolet.
One cone is infrared.
The fringe is a rainbow.
The rainbow is round because it is a conic section with the sun at the apex.
You see two rainbows, one inside the other; one has the spectrum in reverse, it is a negative rainbow.
Magnetism is at a right angle to electricity - see iron filings.

Victor Hugo states that there is an infinite within and an infinite without,
one containing matter, and the other the spirit.


Education is learning to link name and form.
A tragic gap separates concept from percept.
Nama - Rupa (name and form) are dissolved in Vedanta.
Vedanta alone has recognised this tragedy.

Victor Hugo: it is not sufficient to worship the branches of creation full of stars - hypostasy is insufficient.

"Defend mystery against miracle"
"Remove vermin from the garden of God "

Spinoza : "Omnis determinatio negatio" (all determination is a negation)
Any figure is determination, thus negation.
Positive space is the block of stone.
Negative space is the space left by the removed block.


On the vertical axis, many spaces can be telescoped together.
Space is a vectorial line, both vertical and horizontal.

SLP3 -P35


SLP3 - P36

PARITY - the ball bounces and its mirror image bounces.
CANCELLATION - "I am in them , they are not in me"

Cloth is the "mesure mesurée"
The yardstick is the "mesure mesurante"




The three balls are the three levels of Eros.

PICCARDI - body chemistry alters with the course of the year (see the "Science of the Absolute").

ENDOCRINOLOGY - The nearest to the effect of Yoga practice.
Cortisone is a cortex secretion of the adrenal gland.

SLP3 - P37

There are three progressions:

An atomic explosion is a geometric progression.

"A rose will smell as sweet by another name."
But the name of the rose is important as well.
"I am the Alpha and the Omega" is the same as the Sri Chakra, it gives letters to the Absolute.
"The song the stranger (Orpheus) sang was the song that the stars first sang together when the universe was born"

1) The Cartesian Correlates
2) Probability curves - curves on graphs
3) Multiplication, subtraction, addition and division form a quaternion structure.
4) The multiplication table of 9
5) The four forms of logic
6) What is "pi" ?
7) Fourier functions - sinus curves in electromagnetics
8) "Architectonique musicale"

SLP3 - P38

" Aparna" means a leafless tree, the name of Parvati.


ENTROPY The entropy of the universe is tending towards zero.

The mechanical equivalent of energy.
To fuel engines, one had to find a structural law of the universe.
Heat never passes from a cold body to a hot body.

SLP3 - P39

Fuel is negentropy - it keeps the fire from being destroyed
Agnihotram - the fire-sacrifice

The vertical axis is the movement from heat to chaos.
Food is negentropy.
Order prevails at the bottom.
The second law of thermodynamics, that the energy of the universe is constant, is AXIOMATIC. It is not the result of gravitation.
Newton's law is also axiomatic and a priori.

Binary system
The sixteen propositions of propositional calculus.

There are also sixteen propositions of marriage.
(husband and wife live in the same house - but not on speaking terms.
"If he goes, I won't go, or vice versa. Sometimes one will talk,
sometimes the other.....)

The source of the Mahabharata - the first story is of the birth of Vyasa as the result of the rape of a fisherman's daughter.

SLP3 - P40

Syadbhava "maybe, maybe not" - a Jaina category of logic.


When Kama leaves his proper place and mounts to the Numerator, he is shot. He takes refuge below the horizontal line in the Devi's legs.
"Gana" is an elemental, as in Ganapati.
Hanuman (the monkey-god) is similar to Nandini (Shiva´s bull).
Hanuman is Dravidian.

SLP3 - P41



The string is horizontal music.

The chin is the handle of the mirror.
Shiva touches only the handle, he is on the other side.
The father touches the face, he is on the denominator side.

The face must be lifted at 90 degrees to reflect.
The father is below - direct participation, both horizontal and vertical.

There are two pictures here; one a realistic comparison to a lotus plant, half glistening, half smudged with mud.
Mrinala is the imperishable central fibre of the lotus.

There are three folds in the Devi's neck: syncopation, measure and melody.
There are three strands in Her bridal thread - this is Her link with Shiva.
The lines are Denominator
The threads are Numerator

There are three traits of music
three strands in Her marital thread
three folds in Her neck


SLP3 - P42

Shiva has four heads on the positive side. (??ED)
Brahma has four heads because Shiva plucks of the fifth when Brahma crosses the horizontal axis.

Antigone and Ismene are vertical negative.
The two brothers are horizontal - they fight.

Horizontal is mutual conflict and exclusion
Vertical is non-contradiction and interpenetration

The contingent is free
The necessary is not free

The Michelson - Morley experiment.
There is no refraction, so light is not matter.
Light travels without a medium.
The velocity of light is constant and thus vertical.


"Verily, verily I say unto you: you are all wrong"

SLP3 - P43

Evidence of Structuralism - see page 37, above.
Graph paper
Pythagoras' theorem
The quaternion is implied in the Cartesian Correlates
Negative numbers, the theory of numbers bring one to the heart of the structure
Four operations in arithmetic
One times infinity is zero
Complex numbers are divided into four - a schema
First we must prove the existence of two parameters.

SLP3 - P44

Christ at Pentecost announces a new language that will come: PROTOLANGUAGE

1) Tears in the classroom from trying to match concepts and percepts
2) Babelisation
3) Universal language
4) Metalanguage and Protolanguage
5) Name and form
6) Algebra verifies geometry and vice versa
7) The colour solid is already in use
8) Eddington's four chairs



SLP3 - P45

The elephant uproots a banana tree.
The callosities on the Devi's knees are due to prayer.
A real woman worships her husband and not God - Kural (Tamil scripture)


The breasts are elephant bumps.
The knee callosities are elephant bumps
- when she prays there is a reciprocity between the three pairs.

SLP3 - P45

Kicking the Asoka tree to make it flower.


A Banyan tree has aerial roots, thus it is both hypostatic and hierophantic.
The Asoka tree is uniformly flowering from head to foot.
The tree is eternal because the roots come down to the ground and reproduce.
The Asoka tree is a dravida sishyu (Dravidian child)

SLP3 - P46

There is vertical jealousy towards the Asoka tree
There is horizontal jealousy towards Ganges


Do not abolish the horizontal entirely, or common sense will evaporate.
Shout at the man who encroaches on your land, do not say it is all Maya.

The firmness of the breasts reflects the ontological richness of the personality - this is existential richness.

There are three psycho-somatic levels in a woman's body:

Elephant knobs




Making a bee enter a lotus with six limbs.

SLP3 - P47


There is bilateral symmetry which is horizontal
There is transverse symmetry which is vertical

The elephant's knob is made of ectodermal hair.
A horn is made up of hair.
Sunlight is the origin of breast-milk.

Either tautology or contradiction will result if you posit two realities.

Parity - left-handed or right-handed spin.
In the eddies from a boat, some are left and some are right-handed.

SLP3 - P50

Charming verse is a vertical participation of values, this is
nourishment to poetic genius.
Aryan and Dravidian cancel out.
The ripples are the Kalindi river going underground in the Devi's body.
The surface picture is of an affiné river.
Eddington's physical world, exponential mathematics.
Pure mathematical contemplation, abstracted and generalised.
The four dimensions become abstract at the waist where there is only a vertical vertebral column.
There is no psycho-physical communication except through the Susumna.(extremely thin central nadi or passage)

Matter is horizontal wrinkles in pure vertical space - Eddington.

SLP3 - P50

There is nothing in the middle of a woman's body except the pure virtuality of a child to be born.
This is gynaecological schematismus.

The navel is a frozen whirlpool.

The beginnings of life are based on a precarious horizontal uncertainty.
Horizontalism is exclusive - the collapsing sides allow nothing to grow.
Precariousness = projective geometry.

SLP3 - P51
The positive over-generosity of life requires protection from the god of vitality.

This is a cancellation of the ontological stability of the banana and the trunk
There is reciprocity also.
Cancellation occurs at the knees through prayer.
Devotion establishes bilateral and axial parity and correspondance.

The arrowheads are aimed at Shiva.
A man hanging head downwards as in the Tarot
- a vertical inversion in grades of ambivalent values.

Mysticism extends to the vegetable world.

SLP3 - P52

Contact with the breasts is the most intimate pleasure that departs only with death.
The Guru has eliminated all sex but this.
A tree will lack this contact.
A tree is the centre of the vertical axis.
Vertical jealousy is justified.

In the most ideal marital relationship, constancy at the O point is bipolar and exclusive, even at the sub-human level.

SLP3 - P52

Shiva is the abstract numerator principle.
Shiva is the catalytic agent.
The horizontal functional aspects of the world are negative.
One should not minimise Shiva as Shakti-worshippers do.
The vertical axis is a string holding a pearl necklace together.
Shiva and Shakti joined are a paradox.
Universal concrete beauty is beyond this.
It is BEYOND the fourth state.
Brahma and Vishnu's relations with their wives are not fully vertical.
The universal concrete is better than abstraction.

The magenta streak from mouth to foot represents the final ontological dedication of the wisdom disciple.
SLP3 - P53
1) Monde Affiné
2) 3 functions
3) Quaternion
4) Primacy of cause
The following fragments are found at the back of SOURCE P3, and seem to be unrelated to the Saundarya Lahari as such. They are included, for want of a better place to file them at present. Some of them are of great interest.

SLP3 - P54

anavasthá - regressio ad infinitum
upadána karana- material cause
nimitta karana - efficient cause
svánubhava - self-realisation
svártha - existence for itself
parártha - existence for another
sad-asad vilakshana - existent and non-existent
prátibhashika - contradicted by later experience
vyavaharika - not contradicted by later experience
adhisthána - basis of all existence
vivarta - real cause (upadana)
Saha kári - accessory cause
mumukshutva - desire for release

SLP3 - P54

bheda abheda - difference and non-difference
kárana rupa - the causal form of Brahman
kárya rupa - the effect form of Brahman
upádhi - limiting adjunct
svabhávika - natural
anuphadika - adventitious
bhoktr shakti - power as the enjoyer
bhogya shakti - power as the enjoyed
srçti - creation
sal lakshana(?) - pure knowledge

SLP3 - P56 (P55 is inserted in the text on P56, as indicated by the arrows in the manuscript )

The following appears to be notes on Ethics dictated by the Guru.


NARAYANA GURU = Shastra structure in Atmopadesa Satakam
(Verse 22)

BHAGAVAD GITA = "Do as you will, having learnt this"
The structure is sufficient, the content of morality is of no importance to the neutral position.
KARL MARX = there is confusion due to the antithesis of ends and means.
SANKARA = he uses syllogistic logic in his earlier work, later dialectics.
The Saundarya Lahari is the Shastra (authoritative text) of structure.

KALIDASA - "Ya cha hotri..." (introduction to Shakuntala, structural)

Dharma is a pattern of behaviour - see the "Viveka Chudamani"

BERGSON = An instrumentalist .
Four kinds of cause and effect :



(DEFINITION: " The study and evaluation of human conduct in the light of moral principles" - Columbia Encyclopaedia, 1950.
Ethics may be defined as the study of what is right or good in conduct."
- Manual of Ethics, Mackenzie, 1929.
Aristotle writes of "ta ithika" from "ithos" meaning "character".
This is related to "ethos" - custom or habit, in Latin "mores".
Thus it is the study of the customs or habits of men and their evaluation as "right" or "good".
"Right" is related to Latin "rectus" - straight or according to rule ("regula").
A rule, however, refers to some end to be achieved: likewise "good" is that which is valuable to some end.

SLP3 - P56

A good tool is one which serves its purpose adequately.
But Ethics is concerned with man's actions in general and the definition of goodness in this context must depend, not upon any particular end to be attained, but upon the end or purpose to which man's existence is to be directed.
Similarly the good of all is the good of each individual, which is or can be exclusive of that of another individual, or of the general good.
Bergson - river, swallow, boat, meditating .
"Good" is also used to mean not that which is a means to an end, but an end in itself.
Absolute Good or the "summum bonum" is good for itself, in itself, by itself , through itself.

SLP3 - P57

Epistemology is the study of the sources of valid knowledge.
NATARAJA GURU - "The study of the history of Ethics is the study of mistakes."

SLP3 - P58

"Ethics is the study and evaluation of human conduct in the light of moral principle"
Thus Ethics is a judgement of the value of actions.
This judgement consists of defining actions as good or wrong (not good).
Goodness is that which, in anything, is appropriate to its end or purpose.
We may distinguish a particular good or a general good.
A spade is a good spade if it accomplishes its task: digging.

SOCIAL ETHICS - homeostasis, something better than something worse.
Goodness is what is not worse.
Absolute Goodness is God.
In Social Ethics we see that whatever the starting point, methodology, etc.,
the notion of Good is always the preservation of the status quo.

SLP3 - P60

1) Ethics is the study and evaluation of human conduct in the light of moral principles, thus it is a value judgement.
Two goods - distinguish wisdom and justice.
A) A normative notion of the Absolute must be the frame of reference.
B) It must accord with an Integrated Science of the Absolute.
C) There are two distinct ethical theories:
1) The Ethics of the market place.
2) Vertical Ethics

These two must be brought together.
There is a danger of a one-sided approach.

2) Sanskrit rules for beginning a book:
1) Purpose of work
2) Scope
3) Anterior position
4) Shastras
5) Methodology and epistemology

3) Ethics viewed psychologically
in different societies
in the great religions
in philosophy

The teacher draws us by the categorical imperative, a priori - see Kant.
The source of the a priori is God, Tao, Justice, the Absolute etc.
The categorical imperative is Absolute.
Where is the Absolute in each philosophy?

There is a hiatus in Kant's reasoning - he arrives at the Categorical Imperative from social considerations, but says the moral law is a priori.

STRUCTURE SLP3 - P61 - E1 missing

"The history of ethics is the history of views that are more or less erroneous" MacKenzie op.cit. p.8.

SLP3 - P62

Ethics as understood in academic circles and in unitive understanding.
The basis of Ethics is more or less "love thy neighbour as thyself", see Atmopadesa Satakam, V.22.
All good conduct must stem from love of others
Condemn (illegible -simla?giula?) on Ethics.

Conclusion - Kalidasa - encludes Ethics, Aesthetics, Economics.
These cannot be separated.
The good = the beautiful.
Ethics = be good
= what a father and mother tell their children
= give and take, love thy neighbour as thyself.

The norm is the Absolute.
Definition of Ethics -good to whom? Unilateral?

SOURCE SLP4 This source is a manuscript in Patrick Misson's hand, dated 15/7/72 and is a commentary on Kalidasa's "Malavikagnimitra".
During his years of work on the Saundarya Lahari, the Guru would analyze the works of Kalidasa (India's Shakespeare) to discover the same structural elements and erotic mysticism - the keys to understanding the Saundarya Lahari - which are to be found in much of the classical literature of India.

This commentary is fragmentary, as the Guru would only take up any subject except the Saundarya Lahari for brief periods.
He always used the Sanskrit text and translation published by the Pundits of the venerable publishers, Motilal Banarsidas of Varanasi (ex Benares). He said the pundits were unimaginative but scrupulously accurate. His reference for the translation of Sanskrit words was always Monier Williams' classic dictionary.


PAGES 1-23

P1- Malavikagnimitra

P6- Saundarya Lahari V62

P6- Malavikagnimitra

P20- Saundarya Lahari V13

P20- Malavikagnimitra

SLP4 - P1


You are the stage manager, giving orders, but the audience has already given permission to proceed.
(Maitri Upanishad -" Perhaps it is already joined")

There are two factors, one on each side of the curtain
- the audience is the Numerator,
- the stage manager is the horizontal counterpart.

Dharini and the manager are both ordering.
They fit into the second dimension - first and second curtains.

SLP4 - P2

This points out the structural situation.
Dharini is talking to the servant girl and the manager to the assistant.
The audience absorb both vertically.

The picture is more intensely beautiful than the girl.
The grandmother loves the granddaughter more than her own daughter.
These together make up a structure of the four dimensions of falling in love.




SLP - P3

Malavika is the teacher of the dancing teacher.
She is natural, the master has only learnt by lessons.



The ring is the appreciation of inner beauty in a jewel - the female heart appreciates this.

SLP4 -P4

The King and Queen are in a double chair together admiring the picture.
The diamond is at the O point.



Malavika is the diamond seen from inside.
The Nandi or introductory invocation names eight bodies or stable positions, again making up a structural picture.
Poetics, ethics and yoga are contained in it.

SLP4 - P5

The girl's hand becomes a lotus, she is completely absorbed in the jewel.
Malavika is like a jewel in the palace.
Malavika is like the Devi, she represents the eighteen arts.
The tragic side is also present.
The absolute is tragic.
Literature is perennial, old or new.
Art does not have any difference, it travels a middle path between orthodoxy and heterodoxy.



SLP4 - P6

The dancing master is clever in theory.
Malavika is clever in practice.
Cancellation occurs.
The result of the cancellation is the diamond
(in a gem island in the midst of the ocean, as in the Saundarya Lahari)

SLP4 - P7

Malavika is low caste.



The maid goes as a messenger from the positive side
to Malavika who is enjoying leisure on the negative side,
In politics there are always two reasons.
The political scene is complex.
There is a togetherness of things as with the Sri Chakra.

SLP4 - P8

Malavika comes to the palace as the result of political circumstances
- by accident - another structure is present here.

Reply to a political letter.

Malavika is not affected by the frontier.
She becomes an important person in Agnimitra's palace.
She escapes in the confusion at the frontier.
She is the Soul.
There is a sly reference to reincarnation here.
There is an exchange of prisoners in question, but Malavika has already escaped before this.

SLP4 - P9

The soul is not affected.
She is also the jewel in the ring.
The Vidusaka is a necessary as an intermediary,
as in sight.(made up of seer, seeing, seen)



SLP4 - P10


As an absolutist, Agnimitra does not wish for diplomatic relations, but for warfare.

A new king is an easy enemy to defeat, he has no vertical roots.

The Vidusaka is a go-between.
The political scene was all horizontal movements of armies, etc.
Now the scene is inside the palace and vertical.

SLP4 - P11

There are two teachers of acting - Haradatha and Gamadasa.
They are the two aspects of dramatic sentiments.

"The king, though the same, seems to change like the ocean"
Because of the quarrel, the king assumes importance and gains dimension.

See the Viveka Chudamani of Sankara.
The king and the bodyguard are being painted, they look the same,
but one is the king and the other is a poor man, quaking before him.
One is vertical and the other is horizontal.

SLP4 - P12

A husband can change value to his wife from moment to moment, as when he loses his temper.

Ganadasa is a favourite of the Queen.
Haradatta is on the Numerator side.
Malavika is a value as a prize.

The Perivrajika is at the O point as a link between the King and the Queen.
Double negation is also powerful.



The Queen has the casting vote.

SLP4 - P13

The dancing masters are quarreling.
The King asks why they are coming together.


SLP4 - P14

The King is the husband of Dharini and of the Earth
Both are on the denominator side.




The Queen is accompanied by Kausiki.
She looks like the three Vedas (1,2,3) accompanied by the science of Atma-Vidya (the Science of the Absolute) (4)



"Will you have a jewel tested in a village when a town is near?"
The Perivrajika is on the negative side.

SLP4 - P15

The dancing master must be able to dance himself and impart it to others
- medium and message.



The Perivrajika says there must be a quaternion structure in order to judge dancing.

SLP4 - P16



The peacock spreads its neck at the drum: this is a vertical movement.

Desire is going down to fulfilment.
"Down" because this is an absolute girl - so there is a descent
to the negative side.

SLP4 - P17




The four lines she recites are structural.

SLP4 - P18

The upper part is more attractive than dancing.
"About to dance" is dance itself.


Attribute and substance are united in her departure

The Vidusaka criticises the Perivrajika, saying that she does not know sweets, much less dancing; that she is ignorant of the numerator values which are the domain of the Brahmins.

SLP4 - P19

People are frightened by the white hair.
This is a criticism of the Jainas etc.
A woman should have some value between the O point and the Omega point.

In contrast, the King says Malavika's face is the most beautiful sight in the world.
Malavika is contrasted with the Perivrajika.



This means that the shaven head is only negativity.
A laddu (sweet) is all packed together, it does not recognise the four limbs of the quaternion, like a Brahmin.

SLP4 - P20



The girls are on the negative side - see Rousseau and l'Espinasse.





Malavika has left the room and descended to the Alpha point.
The King is placed by hand as the sun.

SLP4 - P21

The bath is the turning point.
See Shakuntala; it is the O point.
The bath and the spreading of saris to dry are suggestive of twilight, of the meeting of night and day.


SLP4 - P22

Adhara - Chakra - Bandha.
Manipura Chakra - instead of a west-turned phallus etc., as in the Shakta Upanishads,
Sankara provides a realistic picture of a thunderstorm.

SLP4 - P23

Before Malavika appears, the king knows that she is near, like a traveller hearing a bird in the forest knows that water is near.
This is aparoksha - the inductivo-hypothetical method.

Shabda Pramana.
She appears - pratyaksha - the evidence of the senses - see Pramanas.
One to one correspondance
Paint on the feet.

The favour of the king is necessary for her safety as a refugee;
her life is in permanent danger.
So far, no overt sign of the King's law has been given

Unless Numerator and Denominator are cancelled out, no spirituality exists.

Source SLP5 is a manuscript in Patrick Misson's hand, undated, probably from 1971 or 1972.
These are notes taken during the course of study on the Saundarya Lahari, which lasted from 1970 to 1973. This is made up of what the Guru taught in this period when he was not teaching the Saundarya Lahari. Some reference would come up and the Guru would digress for an hour or a day.

P1- Taittiriya Upanishad

P2- Reading List - a list of books the guru recommended his students to read as background.

P4- Comments on Science of the Absolute

P8- Saundarya Lahari V56

P9- Quran - some structural examples.

P11- Quran and Prophetic Religion

P23- Miscellaneous Remarks

P26- Kandukavati - structure and eroticism in classical sanskrit poetry.

P38- Shivananda Lahari - some remarks on Sankara's poem - the counterpart, so to speak , of the Saundarya Lahari.

P48- Darsana Mala - short comments

P58- Kalidasa's Ritusamhara - structure and eroticism in classical sanskrit poetry.

P60- Darsana Mala

P69- Shivananda Lahari, Darsana Mala

P81- Kalidasa's Shakuntala - structure and eroticism in classical sanskrit drama.

P148- Miscellaneous Quotes


SLP5 - P1


Brahmavid Brahmaiva Bhavati
(The knower of the Absolute becomes the Absolute).
Socrates was a Malayali. (sic - ? ED)


SLP5 - P2


The Two Hands of God - Alan Watts
Psychiatry East and West - Alan Watts
Cybernetics, Semantics, Evolution, Quantum Mechanics,
Electromagnetism, Thermodynamics.
"The Two Sources of Religion and Morality" - Henri Bergson
Papers on Unitive Understanding
Tractatus Logico-Philosophicus - Wittgenstein
(an incomprehensible disciple of Russell)
Teilhard de Chardin
Brahma Vidya Panchakam - Narayana Guru
The Word of the Guru
Vedanta Revalued
The Philosophy of a Guru - "Values" magazine
The Search for a norm in Western Thought
Atmopadesa Satakam
The Language of Unified Science
The Bhagavad Gita
"Values" magazine
The Science of the Absolute
Viveka Chudamani - Sankara
Introduction to Metaphysics - Henderson
The Perennial Philosophy - Aldous Huxley
Neo - Platonists
The History of Philosophy - Fuller (?)
Thomas Aquinas
Duns Scotus
St. Augustine
St. John of the Cross
St. Theresa
The Upanishads
Ramanuja., Sankara, Madhva
(The three great Gurus of South India)

End of Reading List


The Bhagavad Gita is divided into 9 plus 9 chapters.

The Guru's translation and commentary differs from all others.

The figure-eight was discovered by intuition.
The vermicular, unidimensional figures of Bergson occupy an "amorphous space and time"
The fourth dimension is difficult to conceive - the vertical axis is the fourth dimension (Time).

SLP5 - P4


PAGE 357
Einstein is continuing Descartes - he is using axiomatic thought and thus is no longer a physicist without realising it.
Mathematics is a priorism or axiomatic thinking.
Relativity theory thus has to be verified by observation.
The Michelson - Morley experiment failed - but it gives a frame of reference.
Bergson agrees with Einstein, but not with his reasons.
The vermicular figure occupies the vertical axis.

SLP5 - P5



SLP5 - P5

PAGE 358
Bergson postulates a common consciousness to S and S' - that is, an Absolute, but he does not dare use the word.

SLP5 - P6

Bergson : "Le Rire"
"L' Evolution Créatrice"

PAGE 362
Axiomatic physics.

SLP5 - P7
A tetrahedral triangle, hollow at the base - the colour solid.

In the colour-solid, taxonomy is the method of determining colour by a three-dimensional solid.
Bergson's evolution is vitalistic and not mechanistic like Darwin's.
" The Universe is a machine for making gods" - Bergson
Bergson goes from ontology to teleology, like Vedanta.


SLP5 - P8



The colour solid exists inside you.
The eye follows the ear.
The Devi's eye follows the silver Sapharika fish.
When She looks at them angrily, they become silent.


"O Aparna, afraid of the gossip carried to You by Your eyes,
They lie unwinking within water, the Sapharika fish."
(young girls afraid of gossip entrusted to the Devi)


SLP5 - P9




3) "Believe in the unseen, establish worship, spend what we have

22) "The earth a resting place, the sky a canopy, water pours down
from the sky, producing fruit".


SLP5 - P10

28) "How disbelieve ye in Allah..."
32) "...and then unto him you will return".


43) "Establish worship, pay the poor due, bow down your heads".



54) Book and discrimination - the Calf


57) and 61)


SLP5 - P11

81) "He hath done evil and his sin surroundeth him".


SLP5 - P11





SLP5 - P12






SURAT IMRAN - Verse 7 - Verse 54 ( not structural)



1) Does not countenance the worship of idols, cows or holy objects.
2) It believes in a day of judgement.
3) Morality is important, the tables of the law replace human figures.
4) The prophet is a mere human.
5) Pantheism and animism are repugnant.
The 3 prophetic religions are Judaism, Christianity and Islam.
Islam, the latest and last, states the case for the most revised and revalued form of prophetism.
Abraham is the ancestor of the prophetic faiths.

SLP5 - P13

(Editorial note. There is a section of the manuscript up to page 23 which is not germane to the subject.)
Page 23 begins with assorted jottings, then continues an analysis of Kandukavati.


SLP5 - P23

"My birth on earth was a mistake"
"When you pour oil from one vessel to another, the flow is meditation."
Shiva is a Dravidian term for "red".
"To seek to rise above intelligence is to fall outside it" Plotinus.
About Yogananda: "If you want to catch a train, look it up in the timetable or ask the stationmaster"
"Meditation consists in bringing all values into yourself"
"Experience truth like a gooseberry in your hand "
"Space is like sitting inside an elephant"
"There is no such thing as a sad Absolute"
"The gates of fate can open anywhere in this world if you knock"(Kalidasa)

SLP5 - P24

"My guru is God and humanity" Narayana Guru
"Birth is a sleeping and a forgetting"
"What you thought was fire is a gem that can be touched" (Kalidasa)
"Take the bible and see if the Good Samaritan kissed his wife"

SLP5 - P25

" If you are crossing a forest and come to a crossroads, keep on straight"

SLP5 - P26



The ball represents the consciousness of the girl.
There is reciprocity here - she plays with the ball and the ball plays with her.


Beauty becomes overwhelming when two beauties cancel each other out.
Beauty emerges when two sides meet and cancel.
This is the attitude of Sankara.

SLP5 - P26


SLP5 - P27

Keats: "A thing of beauty is a joy forever, its loveliness increases, it will never pass away into nothingness"

The ball jumps, you jump.
The ball bounces like a boy - the boy jumps like a ball - this is reciprocity.
In Zen, subject and object are confused.
Beauty is both inside and outside you.
Tantra is glorifying the beauty inside you - Mandalas.
Beauty consists of analogies.


SL - P5 - P28

The girl and ball are subject and object.
Eros beats back the ball in amorous play.
The ball is her boyfriend.
The girl is the lover playing with the ball.
The ball is the lover playing with the girl.
"Fill your mind completely with overwhelming beauty and you are a mystic."

Kundalini is negative.
Kechari is positive.

Inner space = outer space.

Parvati and Parvata are verticalized elementals in the vertical axis.
The tailor cuts horizontal cloth and stitches it onto the vertical. (see Bergson)

SLP5 - P29

The goddess UMA - the colour of her cheeks are the Himalayan sunsets.
"U-ma" is that which is not Shiva.
She is made up of residual beauty distilled from the ontological side of the universe.
"U-ma" means "do not practice penance".
Build up, do not bring down.

Kandukavati jumps to hit the ball upwards.
Max Planck's constant: "H".
She is tragic - thunder and lightning - Medea.

"She stood on the dais, and immediately she stood in my heart"
The enjoyment of beauty should be felt inside.
The story princess in the palace worships Durga in the temple.(?)

SLP5 - P30



Someone announces that the princess is coming to dance in the temple.
"But no-one could see her in the interval between the dais and my heart"
Objectivity is cancelled against subjectivity.
What is verticalized inside is outside and horizontal.
Subject and object cancel out.
Triputi:, the "tri-basic prejudice" , of knowledge-knower and known is cancelled out.

SLP5 - P31

"With my heart in the grip of imagination, I thought: "Is she Lakshmi?
No, for Lakshmi has a lotus in her hand, while the hand of this one is a lotus."
Predicative - "God is goodness"
Lakshmi is a predicative goddess.
"Moreover, Lakshmi was enjoyed by Purusha* and many others" and this one has untainted and fresh youth.
(*The Primeval Purusha (Person) is Vishnu)
"While I argued in my mind, she touched the ground with her crossed hands, her hair in blue tresses."


SLP5 - P32

The intellectual desire for the Absolute is not enough.
The intellectual must cancel out with the emotional.

"Then she took up the ball - spangled red like Cupid with red glowing eyes."
The ball is "Ananga" or "limbless", a name of Eros - there are red patches and black patches.
The Omega is black, the Alpha is red, and the two together make magenta.

"She dropped it gently and beat it down with thumb folded, she beat it upwards with the back of her hand"
The hand is spread out like a lotus.
"She caught it falling back - marked with her glances like a swarm of bees"

SLP5 - P33

"Beating it rapidly when it moved fast, softly when it moved slowly"
- Reciprocity.
"When it came to a standstill, she beat it hard, performed the Churna pada feat "
Churna pada ("Powder legs") is a gravitational feat.
The "musical leap" is non-gravitational.
She brings the ball back to its place - reciprocity.
He looks with horripilation and shining eyes - he identifies with what he sees.
Side glance.

SLP5 - P34

"Clusters of rays shooting from her lips to drive off bees trying to drink from the lotus of her face."

In horizontal love, the bees trouble you.
In vertical love, you are the bees.

"She hits the ball five times, as if striking back the five arrows of love"
She makes forked movements, imitating the flashes of lightning, like S and S' in a vertical figure-eight.

SLP5 - P34


The dance is punctuated by jingling bells:
the outer bells jingle by ringing against each other,
the inner bells have tongues.
The circles are the Sri Chakra.

SLP5 - P35

A woman with bees is a Sanskrit ideogram, Sanskrit is full of ideograms.

The musical leap is the active agony of meditation.





The Nava Rasas - these nine moods must be shown by the dance.
The sunset has eighteen colours,
This is like Max Planck's "H".
Thunder and lightning - Medea

SLP5 - P36

"Her lower lip, suffused with a smile under some pretext or other"

There is no such thing as a sad Absolute.
"She set right her bushy tresses dishevelled on her shoulders"
To fill hypostatic space above there is cancellation of the feet.
"The jewelled bells struck one another"
There is conflict, they are not self- sufficient.
"A silken scarf over her buttocks." Why refer to them?
He has no right to reject them in terms of all-inclusive beauty, they protrude horizontally.
"Hands drawn in, stretched, waving.", alternative fluctuations.
Cosmology and psychology must coincide.

SLP5 - P37

"......delicate mid-portion, now visible, now invisible, from bending down and straightening"
Absolute truth is both visible and invisible.
"The pearl necklace moves as she jumps"
The necklace is a commentary on the dynamism of the vertical axis.
"The breezes wafted by sprouts in her hair dry the perspiration on her make-up".
The wind is horizontal, the perspiration vertical.


"A mango tree is a rich man bent to the ground by the weight of mangoes" - Narayana Guru.
"One tender hand readjusts the apron over her protruding breasts"
The hand is modesty - vertical.
The breasts are horizontal.


SLP5 - P38

The ball becomes multiple and many-coloured.
She plays with her servants.
She bows before the Goddess, meaning that she accepts the conventions
"....followed by the affection of her servants and my love."




"When the ocean bridge is accomplished, when by a palm is pushed down the chief of mountains,
A Goddess has by You been transcended, the lotus-born creator.
Then Your adoration of Shiva comes within the scope of your positive meditation"

SLP5 - P39

Transcend Brahmanism.


Press the mountains down to become horizontal.
"Les Travailleurs de la Mer" - Hugo.

"I am wandering and want to fill my belly, and I also like money,
In vain I am wandering, I do not know how to worship you,
The merits of past births alone can save me"
Narayana Guru

SLP5 - P40

"Let this be my prostration to the moon-crested Shiva and Shakti."
- Shivananda Lahari.
The crescent is the axiomatic principle.
Shiva is not a living being but an Omega point.
The method is from teleology to ontology.
"(You) who are the quintessence of the arts and the real fruit of penance"


The quintessence of the arts is the crescent moon, delicate and ineffable.

"Why does a baby smile? Because in the forest, two buds are flowering, and the clouds play hide and seek with the crescent moon." - Tagore.

SLP5 - P41

"The real fruit of penance" Shiva does penance, and the fruits arrive through Shakti.
"The givers of bounties to the devoted"
The vertical axis of Shiva and Shakti bestows bounties.
"Bestowers of welfare to the three worlds" - Why is there repetition?

SLP5 - P41


"Who appear again and again in the heart..."
"Again.." this is the dynamism.
"Who in themselves experience eternal bliss..."
They share the bliss.
God likes ice cream so there is an identity between you and God.

SLP5 - P42

"O giver of prosperity, may this wave of bliss be victorious, which wells up from the river of your history..."
"History " means the life of Shiva.

"Clears the dust of sin which falls into many reservoirs through the channel of intelligence, which shows the way out of Samsara "
This is like the increasing voltage of a bulb which turns into blinding light and the filaments disappear.

"I meditate in my heart on the auspicious one, snake garlanded..."
The snake is the mysterious element.
"Auspicious " includes the tragic touch of the snakes.

"Known through the Vedas..."
The content of the Vedas, if distilled, is the Absolute.

SLP5 - P43

"Gladdens the heart..." Tripura is the destroyer of the three cities.

The cities of: Gold - Kubera
Silver -
Iron -
-these are luxurious conditionings of the mind, and detract from the Absolute.


"The three-eyed one..." - the third eye is vertical.

" Holder of the deer..." - Shiva was a hunter - hierophantic godhead derives from here, primitive man was a hunter - the Shiva Cult is ontological in its starting point. Krishna was a cowherd, the most basic occupation of young Indian peasant boys - he is the giver of bounty.
"Kindly disposed towards me..." - there is a reciprocal feeling.

SLP5 - P44

"Lord of all creatures..." - Pasupati is the Lord of Beasts, the support of consciousness, the great dancer who plays alone, fearless.

"Riding on a bull..." ( There is a Chinese god who rides on a buffalo- see buffalo demon (Maheshasura.)
If Shiva appears on a white bull, he represents life.
If Shiva appears on a buffalo, he represents death. (if you are dying)

"Ride this auspicious horse..." the devotee is a horse.

(Sacrifice of Isaac - see Narayana Guru and the cucumber substituted for animal sacrifice).)

SLP5 - P45


Verse 65.
Fearing a kick on the chest, the God of Death moves away.
The ageless gods, with brilliance of crown gem-lights perform ritual waving.
"O consort of Bhavani (Parvati), on seeing him, with the maiden of personified liberation, with full embrace,
What is it that could not be attained by one who is filled with devotion to your lotus feet."

SLP5 - P46

I worship that blue-necked one like the male peacock, for whom dusk is like the end of summer.
- dark splendid colours and rumbling like the breaking of the monsoon.
Angels' glances like lightning, devotee's tears like rain, Parvati the female peacock.
Shiva is compared to the peacock - he is nilakanta, or blue-necked through drinking the poison at the churning of the milk ocean, to save the world.


SLP5 - P47



SLP5 - P48


A Darsana is a conceptual and perceptual vision of the Absolute.
In the west, science and religion have separated.
Philosophy is logical - Philosophy is distinct from experience.
In the East, the emphasis is on an experience, a vision.
Is a Darsana a system of philosophy?
Religion has different connotations in East and West.
In the Gita there are eighteen chapters, each with contradictions.
Each is a system of its own, with a logic of its own.
"The world is in me and I am not in the world,
I am in them and they are in me
I am not in them but they are in me..."

SLP5 - P49

Narayana Guru adopts a different logic for each chapter
- he goes from the known to the unknown.

In the first chapter, he starts in the Upanishadic tradition with
" Adhyaropa".

The West accuses Vedanta of:
Solipsism = it quotes itself as proof for itself.
Syncretism = it is composed of all sorts of heterogeneous things assembled together.
Every philosophy in the West excludes all the others.
UNLIKE the system of Darsanas which is non-exclusive.

SLP5 - P50

In India, there are six Darsanas in three pairs:
Samkhya and Yoga
Nyaya and Vaisheshika
Purva Mimamsa and Uttara Mimamsa.

Empiricism starts with the ontological side and depends on sense-data.
Vedanta cannot be Idealist because it depends on sense-data.
In Idealism such as Plato's, sense-data are seen as not real,
similarly with Hegel, Kant and Schopenauer.

In Idealism too much importance is given to the mind.
If too much importance is given to sense-data, we get Empiricism.

SLP5 - P51

Adhyaropa, as in the first chapter of the Darsana Mala, is Empiricism.
It postulates an Empirical world as real.
Let us suppose, in the first chapter, that sense-data are real.
This is included within the complete scheme of Vedanta;
"All is Maya" is not a basic principle of Vedanta.
One must put Sat, Chit and Ananda in their proper places.


"In the beginning, there was non-existence indeed,
Dreamwise, then again by mere willing,
Everything existent created he, the Lord Supreme."

SL P5 - P52

Vedanta says that everything was nothingness in the beginning.
The Absolute is a paradox - it both exists and not exists.


The Absolute exists vertically and not exists horizontally.
"The Supreme Lord" or "God" creates the universe
as James Jeans says: "God is a mathematician"
God is a mathematical abstraction.
"Dreamwise" - created as in a dream - conceptual.
"By mere willing" -God was lonely and said "let me become many".
"The world is will and presentiment" Nataraja Guru.

SLP5 - P53

"In the beginning, in the form of incipient memory factors, all this remained.
Then the Lord by his own power of false presentiment, like a magician,
created all this world of change."

"Incipient memory factors" - the beginning of memory.
"Remained" - potential, not kinetic, amorphous.
"False presentiment" - God is telling lies
- this is the negative side of the total situation.
The snake and the rope - the nescience principle.
It is the eidetic sense - as in the Rorschach test.


SLP5 - P54

"This world before creation
Was latent within himself.
Thereafter like sprout from seed,
From himself by his power, by itself it was created.
The power, however, as of two kinds
Is to be known as the bright and the dark.
There is no coexistence between these two,
As with light and darkness".

Positive and negative, these are antinomian principles excluding each other.
This is a basic structural feature.
This is the first basic distinction in the Absolute.

SLP5 - P55

"In the beginning, this world,
Which was in the form of mind- stuff,
Like a picture, achieved with all this picturesque variety,
Like an artist, the Lord".

"Artist" - the Absolute is presented in various terms - Lord, artist, magician.

6) The powers of a yogi - Sai Baba materialises objects - view the positive and negative aspects as a whole.


This is an example for clarification:
if you do not like it, use your own example.
"Nature" is Prakrti.

SLP5 - P56

7) The world becomes real as the eidetic sense becomes more pronounced.

8) Misterium tremendum - a paradox is at the core of the Absolute.
The tragic aspect of life exists.

9) Vedanta does not believe in evolution of the universe - it is considered mechanistic.
This applies to the Big Bang Theory, as opposed to the Steady State Theory.



Clay is the ultimate material cause, empirically viewed.


Chapter 2

"Apovada Darsana" - This is Negativist, it is made up of "arguments that reduce" (literally translated)
2) Cancellation. In the case of the statue of a lion, the lion is the effect, the stone is the cause.

SLP5 - P57


3) Bracketing - any notion must be enclosed in brackets.

SLP5 - P58



The frog leaps into the shadow of the snake's hood.

SLP5 - P59


This structure describes the Gurukula or ideal institution as a building with four floors.

SLP5 - P60




The negative approach is continued.
From sat chit ananda there is a further reduction.


Sat chit ananda in Chapter 2 is at the neutral O point, from there downwards there is
a first degree of negation in Asatya Darsana (chapter 3)
a second degree of negation in Maya Darsana (chapter 4)
a third degree of negation in Bhana Darsana (chapter 5)

Asatya is unreality.
Mayavada thinks the world is unreal.
Vedanta is Mayavada.
In Ramanuja, there is no Mayavada.
Asatya Darsana is an invention of Narayana Guru
- the world is false, not as an optical illusion, but as an eidetic presentiment.
Asatya is a phenomenological approach as in Hume and Kant.

SLP5 - P61

An example of the Eidetic presentiment is in the image of the snake and rope or in the Rorschach test.
Existence in this Darsana is phenomenological - an appearance.
All appearance is negative - omnis determinatio negatio (all determination is negation - Spinoza).


1) The world is seen in the Self.
Inside the Self is a phenomenon corresponding to the blue of the sky
The colour is illusory.
The mind inside the Self is equally illusory.

SLP5 - P62

2) Mind and nescience are the same thing and are negative.
This Darsana centres around the mind.
The world is a presentiment of the will.



The mind is nescience.
The mind operates to create a presentiment of the will on the positive side.
This by knowledge gets reabsorbed, then the whole world is a mere configuration.

4) The world and the will are necessarily related.



SLP5 - P63

7) Vedanta does not accept evolution.
Evolution is the product of evolution.
See creative evolution and emergent evolution which contradict Darwin.
Evolution presupposes a horizontal world.



One kind of error can be in thinking that a reflection is real.
Mistaking a doll for a living child is a more excusable error.

See LACOMBE : "L'Absolu selon le Vedanta".

SLP5 - P64

The world originates in the mind - but where is the mind?


The mind cannot be seen.


The Atma or Self is Absolute consciousness.


Absolute mind is false - it is intangible.

SLP5 - P65

Phenomenology - Husserl, Jaspers, Heidegger, Sartre.


Phenomenology starts from the mind and views the rest as phenomena.

SLP5 - P66



For Hegel, Maya is "Negativitat".
(Like a heavy railway engine shunting in the engine yards.)
Study the negative side of the Absolute.

1) Vidya - Science, the error of knowledge, logic etc.
2) Avidya - Nescience, ignorance.
3) Para - Tamas - Darkness - Pradhana: seed and oak-tree.
4) Prakrti- Nature

Schlegel, Schopenhauer, Schuermacher, Hegel
- were all influenced by the Upanishads.
Schlegel was a Sanskrit scholar.
Great resemblance to Vedanta.
Vedanta is NOT idealism, because it gives a place to sense percepts.
The Prime Potent Power - Pradhana - is inside Maya.
Verticalize the horizontal tree into a seed.

SLP5 - P68



Both sides have four parts: there are eight types of consciousness.

SLP5 - P68

SLP5 - P69



The elephant in the pond.
The pond is nearly dried up: a picture of mystical agony.
Rubbing each other's skins - vertical trouble.
Trampling the roots is square-root-of-minus-one vertical.
"This is a verse on the rainy season: may it give you nearly all you require".

23) There is reciprocity between autumn and the lotus.

SLP5 - P70





Karma is here action verticalized.
The instrumentalism of Dewey - see Bergson.
Karma corrected is Dharma.
The corrective to wrong action is Dharma.
Pragmatism - positive action.
Personality is an instrument.


Dewey, Bergson.
Bergson starts from the ontological.

The motive force is the Self.

The non-Self is the functional side.

The function of the non-Self is to produce the Self.

SLP5 - P72



The gap between ends and means is indeterminism (Maya).
Through Maya (there is ) interaction between the Self and the non-Self.

Vertically the Absolute Self is actionless - horizontally it has actions.

11) Who hears is the supreme Self.

SLP5 - P73

10) Action and actor cancel in the Absolute.
7) Inside the body there are different palpitations and flows.
There is no action when viewed absolutely.
9) The stress is now on the plus side, the garland is ascending.



Kant - Pure reason, Practical reason.

Reason is a function of the Self.

Red Hot - Action
White hot - Reason
Both are activities of consciousness.



Action for its own benefit.

SLP5 - P75

2) Conditioned reason is: "I think that I am thinking."
Unconditioned reason is when there is no thought of thinking at all.
3) Knowing the difference between the true Self and the false Self
is Self-awareness, (Atma Jnana).
4) To be lost in pluralism is Anatma Jnana.
6) A lamp is proved by its very existence - ontological knowledge.
7) Inferential knowledge - as of fire from smoke.
8) Upamiti Jnana - Analogical knowledge.

SLP5 - P77

Bergson - "Durée et simultanéité".
Peter and Paul - Time and space.
"Horizontally viewed, one second can become one thousand years,
vertically viewed one thousand years can become one second."
Henri Bergson.

Arrow - mango blossom - mango is a sweet fruit,
it produces a magenta blossom and in spring the leaves grow horizontally.

SLP5 - P78







SLP5 - P79


CHAPTER 8, 9, 10

There is no real difference between Bhakti and Yoga.
Yoga is more advanced.
When a good fat housecat rolls in the sunlight, it is a yogi.
This is Natural Yoga
Bhakti - there is no textbook.

In fact there are only two Yogas - Karma and Jnana (action and wisdom)
This distinction should also be abolished.
The two meet in Vedanta.

Bhakti is frequent in North India.
It is essentially dualist.
"I am a mad dog lying on the roadside" Narayana Guru.

1) Bhakti is meditation on the Self - not unilateral external devotion.
2) Atma is replaced by Brahman.
BRAHMAN = ATMA= ANANDA (the Absolute = the soul = bliss)

SLP5 - P81


THE NANDI (Introductory invocation)
"That creation which is of created things the first,
Which bears what is offered according to (obligatory) rules,
That which is the ghee,
That which is at the same time the sacrificer,
Those two which ordain time,
That ground which inhere in sound, substance and quality,
Filling the whole universe,
That which is said to be seed of all manifestation.
That by which gives life to all beings,
Let these eight manifestations of the Lord
Attainable by what is given to the senses,
Bless you.


"Ya srishti srashturadya" - That creation which was of created things the first.
"Vahati" - bears.
"Vidhibutam" - what is offered according to rules.
"Ya havir" - that which is ghee.
"Ya ca hotri" - that which is the sacrificer.
"Ye dve kalam vidhattam" - those two which ordain time.
"Shrutimshayaguna" - the three categories of sound, hearing, substance, quality inhere (not clear, ed.)
Ya sthita vyaya vishvam
"Yam ahuh sarva bya prakrtiti" - That which is the potential source of all manifestation in Nature.
"Yaya praninaha pranavantah" - that by which all living creatures attain to breathing status.
"Pratyakshabhih prapamah" - attained by what is given to the senses.
"Tanubhih" - bodies.
"Ashtabhihi vastabhihi ishah avatu" of the eight bodies all of you, Lord, let it save.

Eka Purusha - there is a golden-haired and bearded man inside the sun and also inside the pupil of your eye.

There is another version of this structure:


On page 81 of this document there are two structures
It appears clear to the Editor, who was also the person who originally made these notes, that the word "hylozoic", which appears in between the two structures on the page, refers to nthe lower structure, and that there is a missing word "hypostatic", which should refer to the upper structure.
81a is a hypostatic version, with a positive reference.
81b is a hylozoic version , which would have a more earthy, negative reference.
SLP5 - P82

The error of the pundits is that Kalidasa is not speaking in Puranic but Upanishadic terms.
The first verse of the invocation, the nandi is:
"That which is spoken of as "eka purusha".
There are two purushas (persons) - Vedanta believes in a hypostatic and a hierophantic purusha,
which two cancel out in the "eka purusha". (eka = one)
The duality of Samkhya is revised by the Gita.

"Shiva" is the oldest name of the Absolute on Indian soil.


SLP5 - P83

The butter is also the person sacrificing.
The sacrificer is not distinguished from the sacrifice.
Time can be divided horizontally or vertically.
Generalise the notion of nature and you get prakrti.
That which is said to be the universal nature principle is breath:
that is the principle which gives life to all living beings.

SLP5 - P93

"That creation which is the first of all created things,
Which bears what is offered according to (obligatory) rules;
that which is the clarified butter, that which is at the same time the sacrificer (hotri).
Those two which make time, that ground in which inhere quality, sound, substance; filling the whole universe.
That which is said to be the seed of all manifestations.
That which gives life to all beings.
Let these eight manifestations of the Lord,
attainable through what is given to the senses - bless you."

SLP5 - P94

Sutradara - the stage manager.
Entry of Dushyanta.
The "Pinaka-wielder" is Shiva.
This is the archetypal figure of Shiva pursuing a deer.
"The deer is scarcely perceived" - vanishing point.
It makes a horizontal line, more through the air than on land.
The arrow flies, this is the tragedy of the horizontal axis.
The path is strewn with half-eaten grass; the dotted line of tragedy.
Fitzgerald contraction of the deer.

SLP5 - P95

With the speed of the chariot objects are distorted, etc.
He wants to treat the horses and chariot as counterparts.
Near and distant things are being mingled, a monde affiné is being created.
Far becomes near horizontally
Divided becomes united vertically


Horizontal and vertical union.
Bent seems straight.
The charioteer gesticulates to illustrate the horizontal speed
- then the ashram appears - a vertical factor.

SLP5 - P96

The ashram is a vertical island of neutrality.
Fire on flowers = agnihotra (fire sacrifice)
Deer = Shakuntala = flowers
Burning is the beginning of verticalisation.

First description of the ashram (in Jaina terms):
1) Grains pecked by the parrots are left undisturbed by the
Rishis, forgetting food.
2) Nut-crushers for lamp oil - the ashram is Self-sufficient.
3) The deer are not afraid of the chariot inside the ashram.
4) Marks of die from the bark cloth indicate the simplicity of Ashram life.

SLP5 - P97

The King's throbbing arm is an omen of disaster.
There is a dialectical relationship between pot and damsel - their shape.
The name Anasuya means "without jealousy".

SLP5 - P98

The roots of the trees bathe in the canal.
The fire is lit with clarified butter.


Shakuntala's garment covers and spoils her beauty,
but is also an ornament - paradox.

Shakuntala seems to be a creeper on a tree - this is a suggestion of Shakuntala's involvement with Dushyanta.

SLP5 - P99

The bee goes to her lower lip - square root of minus one.
Only a woman's lower lip is referred to, a man's never.
A bee is a universal principle of honey- seeking.
"Between eyes and ears" - the seat of gossip is between the eyes and ears.

SLP5 - P100


NANDI (introductory invocation)

The Brahmacharis come to collect firewood (for Vedic sacrifice) = pedestal.
Ahimsa (non-hurting) (a Jaina quality) inside the ashram = pedestal.


SLP5 - P101

Abhijnana (as in title of play) means "recognition".
Eyes of Shakuntala >< eyes of deer >< chastity.
Dushyanta asks if Shakuntala must continue a life of chastity, like a female deer.
Both the tendencies are merged.
What the King wants, what Priyamvada says,
What Kanva wants, together are a solution and salvation.
slp5 - p101



Dushyanta is non-innocent horizontality,
Shakuntala is innocent verticality.

They combine for this error or non-error.
Vedanta does not explain anything away.

SLP5 - P102

He gives the ring to pay the debt to the waterman.
There are two trees with two pots and her two hands reddened.
By describing her physical fatigue, he describes her erotic feeling.


She is indebted horizontally

SLP5 - P103


SLP5 -P103

Plant = child
Water = breast milk
Creeper and tree = Shakuntala and her husband

The hair represents numerator glossiness, sunshine.
She holds it up to show that she is not wholly overwhelmed by love.
She turns her eyes like a deer turning its head.

SLP5 - P104

She is a banner blown against the wind.


SLP5 - P105


The king gives the situation an everyday interpretation by attributing Shakuntala's state to ordinary fatigue.
The elephant means horizontal values are prevailing.

SLP5 - P106

The buffoon complains of the hard work and the chase.


"A man in love interprets everything with reference to himself."


First nothingness on the plus side (the buffoon).
The buffoon leans on pillar (right angle)
Everything he talks of is on one side of the quaternion.

SLP5 - P107


The eyes and ears are the link.
Heavy hips imply rich emotional content.
"A man in love interprets everything in relation to himself"
This is a universal law.
The King is converted from a horizontal state to a vertical.
The deer have Shakuntala's eyes.

SLP5 - P108

The buffoon is tired.
The king is still full of activity - but not fatigued of love affairs
- he is tired of killing deer.
There is reciprocity between the fawn and Shakuntala.
The deer's glance in the first scene turns from fear to love.
There are four kinds of animals referred to:
buffaloes, deer, boars and .......(birds? horses? ED.)
The loosening bowstring brings bow and string together in the vertical axis.
Surya Kanta is a stone which creates rays when the sun falls on it, like a hermit's potential power.
"Son of a slave girl".
The creeper reoccurs continuously, it stands for Shakuntala.
The King speaks directly of his love, shows honour as Puru's descendant.
One flower drops on another, one is more hypostatic than the other.
Dates and Tamarind - like refined Bombay Parsi ladies and crude Marathi coolie girls.

SLP5 - P110

An outline of beauty filled with content from the existential side.
The creation of existence from the ontological side.
Describe Shakuntala's beauty.
An unsmelt flower - on, from, by, through, for itself.
The hermits' heads shine with cheap ingudi oil (insult), they have no other oil.


SLP5 - P111

This page is filled with the sanskrit version and transcription.

SLP5 - P112

The King is compared to a Muni - he is the ruler of the kingdom as the Muni is the ruler of the senses.
There are three references to her dress.
An imaginary thorn.
Her two friends are almost vertical: Shakuntala is verticalized, she is like a creeper on a tree,
Anasuya is almost verticalized, Priyamvada slightly so.


"A person in love sees himself" equates the Self with the non-Self.
The buffoon views the world horizontally, the king has the honour of the Puru race.
The hermit boys say: "we have attained the object of our desires - we are satisfied"
They are going to see the King who is a complementary value to them.

SLP5 - P113


Abundance between two systems.

SLP5 - P114

"He has conquered his passions" but is in love with Shakuntala.


SLP5 - P115



Both are treated as duties, to the Queen or to the hermitage.
The Queen treats the servant as a son.
Shakuntala is also a mother principle
- there is parity between them.
Reciprocity - there are real demons on the existential side.
Substitutes a messenger for the son - fear of Rakshasas (demons).
Both are the same.

SLP5 - P116

Previously the King and the jester were alone under the tree,
Now they enter three worlds, one the rival of the other
(the Queen and Shakuntala).
The boy sends water to Shakuntala.
The king has power to drive away ghosts.
Trishanku - a Manu sent up to heaven by his guru and rejected by Indra.
Sunyavada - madhyamika - the philosophy of Nagarjuna - it does not cancel out, it blows neither hot nor cold.

SLP5 - P117


The lotus stalk represents the central nervous system of Shakuntala.
She is injured in her simplicity by her encounter with the King.
(Ayurveda Shastra, Verse 1: "Disease is caused by affection".)
There are two cures: chant some mantras and pour holy water or treat with oil and baths.
Water pouring down a hill.
The laws of nature are operating in the world of necessity.
"Burnt by Shiva's fire" - there is fire also at the Alpha point.
The light of double negation makes a light that dulls the sun.
Double assertion likewise.


The King is burnt by a submarine volcano - he enters the sacred presence and suffers, but does not mind suffering if he is in the vertical axis.

SLP5 - P118

Her banner is a fish; her  eyes are like a fish.
She is on the negative side,
but her eyes reveal her position on the positive side.
"This god with fish banner who pains my mind, will delight me if he strikes me for the large-eyed one."


Suffering in the vertical axis is doubly negated.
Kama Deva (Eros) is burned and sinks to the Alpha point.
By subterranean heat he can burn if there is no double negation or double assertion.

SLP5 - P119

The King has asked if Shakuntala's vow is until marriage, or for good.


The lotus leaf is horizontal.
The stalk is vertical.
Neither celibacy nor non-celibacy are recommended.

SLP5 - P120

Shiva burns Kamadeva.


Sacrifice - ritual.
Permitted at the end of a rite.
Vedanta is the end (-anta) or final point of the Vedas.
Going beyond Karma (or beyond necessity) to contingence.
The banks of the Malini have little wavelets.
This is the world of sunlight, thus She is on the plus side.

Karma Kanda (that which pertains to action) is over,
Jnana Kanda (that which pertains to wisdom) begins.

SLP5 - P120

Kama Deva gesticulates that he feels the touch - at the ontological limit;
it is the most basic sense.
This is in order to banish the heat of the love affair - the wind can cool.
Malini means "skin".
(The bower of creepers - see "Shakuntala".)
There is a circle of reeds - then of creepers - then footprints.
The heavy behind implies a walk like a duck or swan.

SLP5 - P121

The child, when born, will balance the weight of the behind.
This is structural, not aesthetic perfection.
The circle of reeds represent the boundary around the world of a girl in love.
He looks at her and feasts his eyes.
It is a "full feast" - in the Absolute there are no parts.

SLP5 - 122

A stone slab strewn with flowers;
- this represents the ontological basis
- flowers are the limit of ontology.
She is swooning from a negative state of consciousness.
She has faded very much - the absolute quality of Shakuntala.

The ointment on her breasts
- the breasts are the horizontalization of a woman's body.
Lotus-stalk fatigued in summer - shows the extent of her fatigue by analogy.
Breast = feeling.
Hands = energy.
Both are fatigued.

SLP5 - P123

She is in a state of Absolute negativity, like lotus stalks.
Upper half.
There is a paradox - she is charming and deplorable at the same time.
She states her love straightforwardly.

Double negation - the heat of the afternoon causes clouds which rain and negate the heat - thus her love.

No immorality is involved in their love - Kalidasa wishes to establish this.
This is Gandharva marriage - contemplative human conventions do not apply.

SLP5 - P124

A very strong mango tree supports the creeper.
A girl must have horizontal strength to raise a family.

"Type" in literature disappears in Europe after the 17th century.
Anasuya and Priyamvada represent types
- they fulfil both requirements at the same time
- they are neither too abstracted or too concretised.
Everybody knows of the love affair - there is no need for action
- the thing will take care of itself.
The tears of the King flow on his bejewelled and bow-scarred wrist.

SLP5 - P125


The diamonds are wetted by the tears.
The bracelet never touches the bow-scar
That is - his arm has grown thin.



SLP5 - P126

Shakuntala is advised to send a love letter.
She begins the letter with reference to herself
- begin at the ontological side.
The trick of hiding the letter amongst the flowers and conventional tricks of poetic composition.
The King as horizontal and vertical hunter
slp5 - p126


The bracelet does not touch the scar - it would if he were a mere hunter.
He is a hunter, but he is a hunter of Shakuntala's eyes.
Shakuntala is too far gone in love with the king.
He is worthy of her.
A drop of water and the ocean.
A mango and a creeper.
Two stars and the moon.

SLP5 - P127


SLP5 - P128

There is a sudden change in Shakuntala from depression to smiles at the idea of writing a letter.
The horripilation or thrilling of the cheeks:
- the cheeks are the most superficial part - but they are positive.
She raises only one eyebrow - making a sinus curve or figure-eight.
This is horizontal, but very slightly tilted towards the vertical.
On the numerator side there must be a sex act
She is writing poetry and raising her eyes in the concentration of composition.
She engraves the poem on a lotus leaf.
Nothing artificial must intervene between the conceptual and the vertical.

SLP5 - P129

The day does not make the lotus fade as much as the moon.
Flowers and crushed lotus stick to her body.
The lack of co-ordination of her limbs means that the creeper has fallen to the ground.

Shakuntala does not think herself worthy of the King.
She sit up in interest to compose a love poem
- the King stops her from trying to rise.
" O cloud wanderer do not be separated from your wife."

SLP5 - P130


SLP5 - P131

The King affirms that his other wives are of no importance to him.
"The sea-clad earth" is horizontal.
"This friend" is vertical.
The girdle of the seven seas delimits the absolute domain of any King
- the seven colours of the spectrum.


SLP5 - P132

The antelope seeking its mother - love seeking its object.
Priyamvada and Anasuya are in the same denominator context in going after the antelopes - delicacy of device.
One is called back for horizontal support.
There are two consolations.


She offers to leave, thinking of Kanva - he restrains her - a certain use of force is justified.

Gandharva marriage is not in the human context.
Both the King and Shakuntala are of divine origin - he a descendant of Puru,
she the daughter of an Apsara.
"The goodbye to the bower": hesitation at the beginning, then willingness, then regret at the end.



Kalidasa wants to say that the wedding in heaven is over


The reeds in a circle are the arrowheads protecting the King.
The King lingers there - the reeds are verticalized.
The mud is fecund ground for the reed.




The reed enclosure

SLP5 - P134


To the flesh eating-demons - the flesh is like a precious ruby
- like a sunset or sunrise.
The voice from heaven is the introduction of the numinous element.

The girls offer flowers - why this idol worship?
Will the King remember?
He forgets as the result of a device.
Anyway there is Maya - the principle of indeterminism.
On the whole, the King is an honest man.
Will Kanva approve of Shakuntala's action?

SLP5 - P136

Priyamvada is conventional.
Anasuya is unconventional.

Anasuya thinks Kanva will approve because she has an open morality and knows he is a spiritual man.
The offering of flowers - Kalidasa does not necessarily approve of the worship.
Shakuntala is in love and does not fulfil her duties of hospitality to her Muni (sage)guest.
The Muni threatens that he will respond to neglect on the horizontal axis by giving no blessing.
This is a bad omen.
The flower basket falls - also a bad omen.
The sage forgives but cannot take back the curse.


SLP5 - P138

The ring is mentioned - the ring was not mentioned.
Before it was in the vertical world, now indeterminism enters the scene.


This scene introduces the horizontal axis - now the negative side will come.




SLP5 - P139

Durvasas wears sad clothes - he is a harsh horizontal saint.
He walks away with a heavy step.
Like a fully blown lotus he tramps quickly.
He is a Tapasvi (renouncer), maybe a Siddha (possessor of psychic powers or siddhis).
With expanded fingers.
He is in the middle and horizontal.
She is in the middle and vertical.

The last scene was demons around a fire at sunset.
Now it is the dawn time.
The sun and moon influence the bodily metabolism.
On the one side the lord of medicinal herbs,
(as in the Middle Ages) the moon.


SLP5 - P140

In Act 4 complication becomes complete.
Everyone becomes negative but Shakuntala is sleepy and incapable of action.
No-one blames Shakuntala but her misfortune is caused only by love or by the curse of Durvasas.
Shakuntala is blameless.
Kanva also is not involved in the horizontal.

SLP5 - P141

There is a contrast between the boy and the girl in the morning.
The girl is tired.
("Women should not wake up early in the morning" Nataraja Guru.)
The Rishi weeps for his daughter
- this is a most important verse.

The prophecy comes in four lines of Vedic metered verse - a quaternion.

Priyamvada speaks in Sanskrit, not in Prakrit.
(Prakrit means "natural"; viz. "Prakrti").

SLP5 - P142

Shakuntala bears seed as a sami tree bears fire.
This is the essence of Advaita: any log of wood contains fire (friction).
The garland is kept fresh in a casket to keep her happy.
The mango tree represents the principle of fecundation.
The Kesara tree contains fire between the stamen and the pistil
= the fire in the womb.

SLP5 - P143

Kanva's speech about the pain he feels - how much more pain would the father of a family feel.

Sacrifice - the speech of Kanva.

"Vedi" is the area of sacrifice.
Perfumed smoke rises to purify.
The structure is the five-fold plan of the body.
108 is a complete structure.


There are five senses and five satisfactions.

The speech by Kanva to the plants.
At the Omega point is the voice of the quail.
Kanva is creating a magical world of nature.

SLP5 - P145

Three equations.
Shakuntala will not water the plants.
" " " " crop the leaves of the plants.
Her chief delight is the first blooms.
There is a parallel with Proserpine.

The supernatural grows out of the natural.
The quail's song = the voice of the trees = possibilities.
Probabilities end, possibilities begin.

Shakuntala embraces the creeper.
The creeper concretely embraces the tree.
The creeper virtually embraces Shakuntala.

Kanva knew that a girl of Shakuntala's absolutist quality could only marry the king - as with a creeper and a mango-tree.

SLP5 - P146

The five fires with grass and sesame strewn around and five boys.

In the middle is a tree - the vertical part of their function is to give vertical life to a flower, as with a baby in the womb.

A man comes from the other side, bathing.

The deer graze on the negative side of the structure.
Parrots pick at the grains, there is another circle
- this is like a magic circle as in the chakras.
There are five petals in the Muladhara, six in another.
Where is the origin of this?
It is an unauthorised product of the speculation of the Indian mind.


There are deer grazing on the negative side.
Shakuntala is the malika creeper growing around the tree.

The King is the archetypal king of any city. Pura (city) - he is of the Puru line.

SLP5 - P147


All together = chakras.
All become a lotus or a star or crescent.

SLP5 - P147







All together = all the Chakras become lotuses or stars or crescents.

Yoga is a lightning streak inside you.

SLP5 - P148

Shakuntala's refusal of the ring = tragic grandeur
She refuses the ring. Also she does not sleep in the palace.
This is Tyaga (renunciation).


Follows a series of quotations:

From Manilius:
"Is it wonderful that man can understand the universe,
Man, in whose very being the universe exists
And in each one of whom stands a representative of God in miniature?
Or is it right to believe that Man has sprung elsewhere than from the heavens?
He alone stands in the midst of the citadel, a conqueror,
His head erect and his shining eyes fixed upon the stars."

1) Sharpness, cutting edge.
2) Fire, splendour, light, glow, heat.
3) Healthy appearance, hearty.
4) The fiery and colour-producing power of the human organism.
(Situated in the bile.)
5) Power, energy, vital force.
6) Passionate nature.
7) Mental or magic power, strength, influence, dignity, position.
8) Sperm.

"This entire compound (soul and body) he divides lengthways in two parts,
which he joined to one another at the centre like the figure of an "X"."

"The medieval ideal of life for the sake of death needs gradually to be replaced by a natural conception of life in which the normal demands of men are thoroughly kept in mind, so that the desires of the animal sphere may no longer be compelled to drag into their service the high gifts of the intellectual sphere in order to find an outlet."

SLP5 - P85


What you thought was fire is a gem that can be touched.
(Kalidasa, Shakuntala)

Take the bible and see if the Good Samaritan kissed his wife.
(Nataraja Guru)

If you are crossing a forest and come to a crossroads, keep on going straight or you will go in circles.

Fill your mind completely with overwhelming beauty and you are a mystic. (Nat.Guru)

Cosmology and psychology must coincide. (Nat.Guru)

I am wandering and I want to fill my belly, and I also like money.
In vain I am wandering, and I do not know how to worship you.

Narayana Guru substituted a cucumber for animal sacrifice in a temple- cf. the sacrifice of Isaac.

The gap between ends and means is Maya.

Horizontally viewed, one second can become a thousand years;
Vertically viewed, one thousand years can become one second.

When a beautiful fat housecat rolls in the sunlight, that is yoga.
(Nat. Guru)

I am a mad dog lying on he roadside.
(Narayana Guru)

Disease has its origin in affection.
(Ayurveda Shastra)

But there is a secret that none of them know: knowledge releases from all sin. (Nat. Guru)

Where Karma ends, the Tao shines.
(Nat. Guru)

Yoga is a streak of lightning inside you.
(Nat. Guru)

Is it a wonder that man can understand the universe, man in whose very being the universe exists, in whom there stands a representative of God in miniature: or is it right to believe that man has Sprung from elsewhere than from heaven?
He alone stands in the midst of the citadel, a conqueror, his head erect, and his shining eyes fixed upon the stars.

Space is like sitting inside an elephant.

Find God through the behinds of women.

There is no such thing as a sad Absolute.

The gates of fate can open anywhere in this world if you knock.

My Guru is God and humanity.
(Narayana Guru)

Birth is sleeping and forgetting.

The universe is a machine for making gods.

When you pour oil from one vessel into another, and the flow continues,
that is meditation.
(Nat. Guru)

To seek to rise above intelligence is to fall outside it.

If you want to catch a train, look it up in the timetable or ask
the stationmaster.
(Nat. Guru)

Meditation consists of bringing all values inside your Self.

Experience the truth as a gooseberry in your fist.



Editorial note: the quotations from the Guru were noted in the margins of notebooks etc. from the flow of the Guru's talk. It has to be understood that most of his days were spent in talking. Some of it was structured lessons or seminars, but he even talked while brushing his teeth. The quotes are out of context and we are hesitant to present them in this way, but this is what the Guru said and it seems to be of interest. Some quotes are actually phrases also found in his printed works, in context.ALL QUOTES ARE FROM NATARAJA GURU, EXCEPT WHERE INDICATED.

Clear thinking tends to result in correct action.

There is no difference between wisdom and common sense, common sense is just sense that is common to everyone, everywhere.

The psyche is a woman.

Psychology is sex.

Sex has to be solved in and through itself.

Hinduism is a woman

My task in life is structuralism

Belly to belly lasts ten minutes, back to back lasts a thousand years.

The goddess is just a woman, any woman

Why should I (the guru) be afraid of the goddess, she is just me upside down.

To seek to rise above intelligence is to fall outside it.

A woman is a complete psyche.

The proper study of mankind is woman

Biologically, the female is the type, the male a sub-type.

All aesthetics is erotic.

Beauty could be described as two things saying the same thing from different angles.

Fill your mind completely with overwhelming Absolute Beauty and you are a mystic.

If you want to catch a train, you look it up in the timetable or ask the stationmaster.

It is the same with philosophy.

Meditation consists of bringing all values inside yourself.

The absolute is tragic.

Education is learning to link name and form.

The Guru asked his Guru, Narayana: "I still do not understand why Arjuna had to fight at the end of the Gita, why was it?"

Narayana answered: "If he had not fought, he would have regretted it afterwards"

If you cannot explain your philosophy to a grandmother in Ettikulam (a nearby village), go back home and think again.

Someone asked the Guru what he should do to become a vegetarian.

The Guru answered: "Take a chicken, cut its head off, cut it up, cook it and eat it. Keep on doing this until you become a vegetarian".

We are going to change the world for a thousand years.

Art is the cancellation of the self and the non-self.

Beauty could be described as two things saying the same thing from different angles.

Beauty consists of analogies between the beauty felt inside you and the beauty felt outside.

Siddhis (psychic powers) are psycho-physical dynamisms. They are the like plastic spoons etc. soap-powder packets: free gifts of very little value.

Fill your mind completely with overwhelming Absolute Beauty and you are a mystic.

All appreciation of beauty and all mysticism is erotic.

Reach out to the beauty that is within you.

Experience the truth like holding a gooseberry tightly in your fist.

Aruna (magenta) and Karuna (compassion)
between them are all the message of the Saundarya Lahari.

Love is a vague word used by unscientific people about a feeling they don't understand.

Every time a woman opens her mouth, she is lying.

Men think with their heads, women think with their behinds; the women are right.

All proper meditation is erotic, anyone who says that it is not so does not know what he is talking about.

On Kandukavati: "There is no Indian Spirituality without the Dancing Girl. Take away the dancing girl and there is nothing left."

"The husband does not merely adore the wife, nor the wife merely adore the husband; it is Self-Bliss alone that each adore, as lodged in every sensuous object." (Narayana Guru)

Understanding releases from all Karma.

Beauty emerges when two sides meet and cancel.

The colour solid exists inside you.

Where Karma ends, the Tao shines.

"The universe is a machine for making gods." (H.Bergson)

Beauty consists of analogies.

All religions put some concept on a pedestal
but Vedanta alone cancels everything out.

Maya is the principle of error generically conceived.

There is no such thing as a sad Absolute.

The bearded god of the Sixtine Chapel is a woman.

Put the beauty of your girlfriend together with the sunset and you get God.

Marbles in reaction to one another are horizontal,
a lake inside a lake, a cup inside a cup are vertical

A bitch rolling on its back to feed puppies produces a mystical feeling.

When you say something about God, you are also saying it about yourself.
The feeling of beauty, to be absolute, must contain an "Oh!" or an "Ah!".

Who is this teaching meant for?

It is intended for seekers of wisdom.

"The Truth shall set you free."

You must want wisdom as a deer caught in a forest fire wants to escape.(Sankara)

Our methodology is structuralism.

When the Guru was teaching a lesson on the Saundarya Lahari he noticed a student at the back of the room who was moved to tears. The Guru said: "At least someone has understood."

There is a paradox at the core of the Absolute.

If you try to resolve the paradox, if you try and pin it down, you get a chair or a table; it does not dance."

We are dealing with a dynamism, not a static object.

Question: "Why does all this seem to be directed only at men as wisdom-seekers?"

Nat. Guru: "Women are there already – all women are enlightened."

Question: "All of them?" The Guru replied: "All of them."

"The one who knows the Absolute becomes the Absolute."

Only understand!

When a woman looks into a mirror, she sees God.

If you understand a woman, if you really understand a woman, you understand God.

On varieties of enlightenment: " There are many kinds of Yogis, but there are some few, the most fortunate ones, who can see the Absolute in a woman’s body."

The contribution of Indian Civilisation to spirituality is Erotic Mysticism – it was not repressed by patriarchal and prophetic religions that frowned on sensuality."

If you want to produce a spark, you keep the positive and negative electric poles slightly apart, you don’t press them together. Indian tradition says that to get the maximum erotic spark between a man and a woman you should keep the length of a woman’s hair apart. (about 30 centimetres)"

On another occasion the Guru said: "If a penis is correctly inserted in a vagina, the whole universe will burst into flames."

When a woman looks into a mirror, she sees God.

The proper study of mankind is woman.

What you thought was fire is a gem that can be touched.


Take the bible and see if it says if the Good Samaritan kissed his wife or not.

If you are crossing a forest and come to a crossroads, keep on going straight and you will get somewhere, otherwise you will go in circles.

Fill your mind completely with overwhelming beauty and you are a mystic.

Cosmology and psychology must coincide.

I am wandering and I want to fill my belly, and I also like money.
In vain I am wandering, and I do not know how to worship you.

Narayana Guru substituted a cucumber for animal sacrifice in a temple- cf. the sacrifice of Isaac.

The gap between ends and means is Maya.

Horizontally viewed, one second can become a thousand years;
Vertically viewed, one thousand years can become one second.

When a beautiful fat housecat rolls in the sunlight, that is Yoga.

I am a mad dog lying on the roadside.
(Narayana Guru)

Disease has its origin in affection.

(Ayurveda Shastra)

But there is a secret that none of them know: knowledge releases from all sin.

Where Karma ends, the Tao shines.

Yoga is a streak of lightning inside you.

Is it a wonder that man can understand the universe, man in whose very being the universe exists, in whom there stands a representative of God in miniature: or is it right to believe that man has Sprung from elsewhere than from heaven?
He alone stands in the midst of the citadel, a conqueror, his head erect, and his shining eyes fixed upon the stars.

Space is like sitting inside an elephant.

Find God through the behinds of women.

There is no such thing as a sad Absolute.

The gates of fate can open anywhere in this world if you knock.

"My Guru is God and humanity".
(Narayana Guru)

Birth is a sleeping and a forgetting.

The universe is a machine for making gods.

When you pour oil from one vessel into another, and the flow continues,
that is meditation.

Anything that attains to the o point conquers the world.


1. THE ACTUAL CHAIR in which the actual man can sit; this chair will exclude another chair, and occupies a particular space.

2. THE VIRTUAL CHAIR, in which a virtual man can sit; much like a mirror reflection.

3. THE ALPHA-POINT CHAIR, the form of the chair generalised,
It excludes all other chairs.
This is the universal concrete version, it excludes horizontally but not vertically.

4. THE OMEGA POINT CHAIR: the word "chair" in the dictionary, it is purely conceptual.

Ontology is better than teleology.

If your religion makes you a better person, then it is a good religion for you.

Why should I feel bad about dying when everyday all over India there are young girls crying at the bus stop because they are being sent away to marry some old man they have never met?

Reincarnation is like a caterpillar crawling from one blade of grass to another, at one time its front is on one, while the back legs are still on another, then after a time it is on the new blade of grass.

The revolution is that we burst through all the chakras, instead of treating them as stages.

Why is the absolute kind?
Because otherwise it would be of no value.

Chakras give you something on which to fix your attention, when trying to think of the absolute.

Structuralism is the highest function of the human mind.

When a man in love sees a woman, what he really sees is his own self.
"kami swatam pasyati" -" a man in love his own self sees"

My birth on earth was a mistake"

When you pour oil from one vessel to another, the flow is meditation."

Beauty consists of two things saying the same thing from different angles.

All religions put some concept on a pedestal, but Vedanta alone cancels everything out.

Someone quoted a poem of Tagore about how he could never be a Sannyasin (renouncer or monk) because he loved too much the sound of women's bangles jangling as they fetched water in the evening.

The Guru said: " It is because I love the sound of women's bangles that I am a Sannyasin".

A woman once asked the Guru why, as he was talking about eroticism all the time, he had not got married.

The Guru replied: "I want all of them."

There are two levels to a woman, inner and outer: rejection outside, enjoyment inside.
This is the paradox in religion.

To a Vidyarthi (wisdom-seeker), everything is denied, except the seeking of wisdom.

All of life is a love affair.

The vertical axis is happiness, the horizontal axis is suffering:

God, according to the Guru can be in three places; in your heart, in your mother's feet or in heaven, between the eyebrows.

Beautiful means normal.

Every beautiful girl is mind-produced by some god on high.

Follow anything whole-heartedly, and you will get the truth.

The structure of woman reveals the structure of the negative aspect of man, his psyche. Add the numerator to this feminine structure and you get the whole picture.

Knowledge is a film(a membrane ED), a form which we impose in order to determine objects in this world.

Schematise and you get the Absolute.

The Guru said that Indian spirituality was dealt a death-blow when the British abolished the temple dancing-girls (devadasis).

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.

Meditation is cleansing the mind, according to Sankara.

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

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

Every action is a mistake. Make interesting mistakes and make them quickly.

There is nothing closer to the Absolute than a 16 year-old girl

Put the beauty of your girlfriend together with the sunset and you get god.