Saundarya Lahari

Introduction + Commentaries on Verses

 

INDEX OF COMMENTARIES ON THE VERSES OF THE SAUNDARYA LAHARI

 

THIS SECTION IS CURRENTLY BEING REVISED AND EDITED, AS OF OCTOBER 15, 2015; THE VERSES UP TO VERSE 75 HAVE BEEN REVISED TO DATE.

 

This is the last version of Nataraja Guru's commentary on the Saundarya Lahari, derived from a typescript  which he revised in person. It must be emphasized that he always said that no verbose or "metalinguistic" commentary could do justice to this work, which could only properly be made understandable by "protolinguistic" means, in some form of "expanded cinema", as he termed it.

The interested reader is therefore strongly urged to consult the various earlier commentaries in "Saundarya Lahari Notes" which, though fragmentary, will prove invaluable to understanding this most difficult work.

These additional comments by the Guru, together with the structural diagrams accompanying them, have been left as they were given by the Guru. There are repetitions in many places, and almost-identical passages and diagrams, but we think it is better to leave them as they are and not lose something potentially valuable by over-zealous cleaning up and streamlining of the material.

The commentary on each verse is intended, as far as possible, to stand alone; thus there are many repetitions of definitions etc. to enable the reader to grasp the references to the Indian tradition and to Western science and philosophy.

We wish to apologize for the lack of standardization and occasional flaws of the structural diagrams. Our only excuse is the fact that the editor is not a graphic designer and has had to learn as he goes along; and also that he is alone and unaided in producing this website. We are constantly revising and correcting these shortcomings.

Please note also that we have preserved the original variations of spelling of the transliterations of Sanskrit words as they appear in the original manuscripts, e.g. "Shiva" may appear as "Siva" (the original Sanskrit consonant is somewhere between the two); "Svadhisthana" as "Swadhisthana" etc.

At the bottom of this page, you will find the translated text of the 100 verses to make it easier to identify the verse required, together with short titles for the verses.

The original Sanskrit text can be found at http://www.vignanam.org/veda/soundarya-lahari-devanagari.html

A transcription of the text into roman characters can be found at http://www.vignanam.org/veda/soundarya-lahari-english.html

An index of various versions and comments on the Saundarya Lahari can be found at index.php/content/247-saundarya-lahari-index

A note on hyperlinks: by left-clicking on highlighted words, hyperlinks will appear; some of them are to places within the website itself; others, however, are to articles on the internet, many of which do not reflect the position of Advaita Vedanta but are provided as background information: for example, the god Shiva may be completely unfamiliar to non-Indians, so we have provided links to articles and pictures which will enable the reader to place him in the proper cultural and historical context.

A note on the illustrations: Nataraja Guru said many times that the Saundarya Lahari could only be explained properly through a film rather than through verbose commentaries. We are not yet able to create a film, but we have provided occasional pictures to give some idea at least of what a visual  treatment of this poem might be.

ED.

 

"Even Shiva is not as great as you when you understand. This is the highest water mark of spirituality; you can abolish Shiva and the Devi. The fire of Shiva worships you and Parvati put together. You understand the Absolute and that is all; you become the Absolute. There is no birth, no duration of life, no death, these are only name and form. The Saundarya Lahari  says only that you are the Absolute. The fire of destruction of the world becomes the waving lights of worship for that man who can say of the Devi: "I am You"."

Nataraja Guru

 

"There are many different kinds of yogi; but the rarest and most fortunate of all are those who can see the Absolute in a woman's body."

Nataraja Guru.


Nataraja Guru: "Why should I be afraid of the Devi ("The Goddess" a.k.a. the Absolute), she is just a woman"

A disciple: "Just any woman?"

Nataraja Guru: "Yes, any woman"

 

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

 Nataraja Guru

 

Introduction to the Commentary on the Saundarya Lahari

Commentary on:

 

TRANSLATED TEXT OF THE VERSES

 

VERSE 1
Shiva, united with Shakti, becomes able to manifest,
If otherwise, this god knows not even how to pulsate,
How then could one of ungained merit be able to bow to, or even praise,
One, such as You, adored even by Vishnu, Shiva and Brahma.

 

VERSE 2
The fine dust arising from Your lotus feet,
Brahma, gathering up, the worlds creates,
Vishnu incessantly bears them up somehow with his thousand heads,
And Shiva, having shaken it up, accomplishes with it his ash-wearing rite.



VERSE 3
To the uninstructed You are the light-city, inner darkness banishing, mid-ocean placed
To inert ones the mind-expanding ooze of sweetness within blossoms celestial,
While for indigent spirits you become a brood of philosophers' stones
And for those submerged in the ocean of birth and death, the very tusk of Vishnu's boar.

 

VERSE 4
You alone do not act overtly, by gesture, the promises of refuge or boon
Other arms than Yours can confer protection or boon;
What is more, Your feet, o sole refuge of the worlds of beings,
Are alone expert indeed in yielding boons more than asked for.

 

VERSE 5
Once Vishnu, having adored You, the mother who bestows blessings on those who worship you,
Taking womanly form, caused agitation even unto the City-Burner.
Eros, too, on worshipping You, with body licked into reality by the glances of Rati,
Even to the minds of great recluses, confusion of values brings.

 

VERSE 6
O Daughter of the Snowy Peak, just deriving from Your glance askance
Whatsoever grace he could; with flowery bow, bumble-bee bowstring,
And five-flowered dart and springtide for minister; all these as one withal:
Mounting the chariot of the mountain breeze , he victoriously reigns, that God of Love.



VERSE 7
O let Her appear before us, that proud counterpart of the City-Burner
Resounding with waist-belt of jingle bells, recumbent by breasts
Like frontal bulges of a calf elephant, slim of waist, with autumnal full-moon mature face,
Holding aloft bow and arrow, noose and goad!

 

VERSE 8
Seated on a couch of Shiva-form and having the Supreme Shiva for cushion;
Placed within a mansion wafted round by the perfume of blossoms of Kadamba trees,
Located within a celestial grove on a pearly-gem island in the midst of a nectar ocean,
Some fortunate ones contemplate You as the upsurging billow of mental joy.

 

VERSE 9
The earth placed in the Muladhara, water in the Manipura,
Fire in the Swadhisthana, air in the heart, with space above;
And amid eyebrows placing the mind, and breaking through the whole Kula path,
You do sport with your lord secretly in the thousand-petaled lotus.

 

VERSE 10
With streaks of ambrosial essence streaming from between Your twin feet,
Sprinkling blessings over the worlds and again from that point of high intelligible values,
Turning Yourself into a snake form of three coils and a half,
You sleep in the hollow of the Kulakunda, Your proper ground attaining.

 

VERSE 11
With the four of Shiva and of Shiva-maids five,
And severally the nine of prime nature, with eight and sixteen petals
Three circles and three lines, are thus complete,
The forty-three elements making up Your angular refuge.



VERSE 12
O Daughter of the High Peak, to estimate the equal of Your beauty,
The best among poets, exercising their fancy, somehow created Brahma and others.
Eager Your beauty to see, heavenly damsels mentally attain to
What is hard even for ascetics to attain; the state of union with Shiva.

 

VERSE 13
A man over-aged, uninteresting to the view, inert in sport;
Falling within the range of Your side-glance, they follow, running in hundreds -
Young women, with hair disheveled, their rounded, shapely breasts by blown-off clothes revealed
Their waistbands bursting and silk garments in disarray.

 

VERSE 14
Fifty-six for earth; for water fifty-two;
Sixty two for fire; for air fifty-four;
Seventy-two for ether; for mind sixty-four;
Are the rays, even beyond these are Your twin feet.

 

VERSE 15
Clear as autumnal moonbeams, with matted hair-made diadem,
Attached with crescent and with hands bearing refuge or boon-giving
gesture, rosary made of crystal-clear beads and book:
How could anyone, worshipping You but once,
Not gain in flow of words somehow, the pleasing sweetness of honey, milk and grapes?

 

VERSE 16
That beauty residing within the minds of superior poets,
Resembling that of a forest of lotuses, when touched by the tender light of dawn:
He who can thus adore You, who are so dear to Brahma as magenta itself;
He, by profound words of most tender erotic content, shall please the same select ones.

 

VERSE 17
He who can contemplate those word-bearing elements of broken moonstone lustre,
Joined with Vasinis, having an elusively fluid gleam;
He becomes, o Mother, the author of great poetic works,
Adding sweet charm to the lotus face of the Goddess of the Word.

 

VERSE 18
With shades of Your bodily form enriched by the tenderly sunlit dawn,
And the whole earth submerged within magenta glory;
That man, able to contemplate You thus, wins You over with Urvasi and how many, how many other
Heavenly nymphs having gentle, startled, wild deer eyes.



VERSE 19
O Shiva Consort, making Your face the locus with twin breasts below,
And below still, as the better half of Shiva; meditating on Your erotic aspect,
Without delay he can stir the hearts of women; this is but slight
And at once agitates even Her of the three worlds, when sun and moon form Her twin breasts.

 

VERSE 20
He who can bring You, as emanating nectar out of Your limbs all around,
Into his heart like a moonstone-made statue,
He can quell the pride of serpents like the King of Birds
And a fever patient cure by his very look of ambrosial streak.

 

VERSE 21
As lightning-streak-bodied, made of sun, moon and fire,
And as placed even above the six lotuses in a great lotus grove;
Those great ones, as seers of such, Your aspect, free from dross and ignorance
They experience the upsurging billow of ultimate delight.

 

VERSE 22
O Goddess, You, on this Your servant bestow a kind look:
Thus intending to adore, no sooner one begins saying:
"O Goddess, You"; You grant him that state of identity with You
The same as what Vishnu, Brahma and Indra accomplished by the waving of the lights on their diadems.



VERSE 23
Absorbing the left half of the body of Shiva and unsatisfied in mind still,
The other, I surmise, became absorbed also; therefore,
This Your form, having three eyes and bent by twin breasts,
Wearing crescent -edecked crown, became of magenta glory.

 

VERSE 24
Brahma creates the world, Vishnu protects, Shiva destroys:
Negating all this and his own body, the lord fades out.
Thus what results: Shiva who has eternity for prefix (Sadashiva)
He blesses, obeying the orders derived from Your instantly vibrating eyebrow-twigs.

 

VERSE 25
Of the three gods, who are originated from Your three nature modalities,
Their worship of You, o Consort of Shiva, would alone be worship
Offered to Your twin feet; it is indeed thus when they do so,
Standing eternally beside Your gem-decked foot-stool, joining bud-like their hands well above their crowns.

 

VERSE 26
Brahma regains his pure quintuple nature; Vishnu becomes passionless;
The God of Death destruction meets; the God of Wealth becomes bankrupt;
the great Indra becomes functionless, with half-shut eyes;
In this great doom, he sports, o constant spouse, Your lord alone.

 

VERSE 27
Incantations, mutterings, ritual acts, hand gestures, gait,
Circumambulations, food offerings, inclination, adoration by lying down
All such enjoyments, as coming within the scope of self-surrender,
And thus synonymous with worship of You, let such be what from me might shine forth.

 

VERSE 28
Even on partaking of nectar, so potent against fear, old age and death;
They reach their doom, all such gods as Brahma or Indra;
On even swallowing that terrible super-poison, for Shiva, time's function is not operative:
The source here being the power of Your marital string.

 

VERSE 29
"Remove Brahma's crown from before, and that of him called Vishnu;
You are going to hurt his hard headgear: bypass Indra's crown"
As inclining in front of You, they remain, at that very moment for him on his homecoming,
You are about to rise. Such words of Your retinue, they do ring supreme.

 

VERSE 30
Out of the rays arising from Your proper body, representing psychic powers such as atomicity,
Attendant on You, o Eternal One, one who contemplates these in terms of oneself:
What wonder for him that all benefits from the three-eyed one should only be worth rejection,
And that the fire of doom should perform for him in turn the light-waving rite.

 

VERSE 31
By sixty-four know-how factors, each capable of generating its own psychic power;
Transcending the whole world while remaining immobile,
The Lord of Beasts, again, by Your insistence, by that free expertness of Yours,
Caused to be brought down this firm earth for the unified fulfillment of all life purposes.

 

VERSE 32
Shiva, Parvati, Eros and earth; sun, moon,
God of Love, swan and Indra; Para, Mara and Hari;
With these three sets, with their heart monomarks suffixed,
They adore Your letters, o Mother, by way of naming Your component limbs.

 

VERSE 33
Eros, source, wealth; this triplet placing first within Your charm
O lone and eternal one, innumerable seekers of great enjoyment
Adore You, telling beads of philosopher's stone, ever sacrificing into the fire of Shiva
By hundreds of streaks of clarified butter oblations from the celestial cow.

 

VERSE 34
You, who are the body of Shiva, having sun and moon for twin breasts
Yourself, I surmise, o Goddess, as a new sinless self.
Therefore, by mutual complementarity, this relation remains one of common reciprocity
Between You two, participating on equal terms of transcendent bliss.



VERSE 35
The mind You are, the sky, the wind too, also the charioteer of the winds
You are the water, as well as the earth; apart from Your manifest form there is nought else indeed!
You, in order to manifest Your own self, by taking a universal form
Of mental bliss substantial, do assume the role of Shiva-bride, and thus triumphant rule.

 

VERSE 36
I adore that Shiva ultimate, as placed in Your willing centre, shining with the brilliance
Of millions of suns and moons, whose flanks are illumined by the light of the intelligibles beyond;
Whom, worshipping with devotion, lifted beyond the reach of sun, moon and fire,
In that shining domain above all need, one lives indeed in that bright world of light.


VERSE 37
In Your Vishudhi Chakra, crystal-clear and sky-generating,
I adore Shiva and the Goddess also, with a parity of status with Shiva
By whose combined, streaming, moonbeam-like fluorescence,
With banished inner dross, like a female partridge, the world hereunder shines.

 

VERSE 38
I adore those twin swans, intent on enjoying the nectar
Of the lotus blooming within the consciousness of certain great ones,
Moving within whose minds as a result of their elaboration, the maturation
Of the eighteen arts takes place freed from dross, their goodness extracted as milk from water.

 

VERSE 39
O Mother, I praise, placing in Your Svadhisthana the fire of sacrifice
Ever looking upon it as the great fire of doom, and placing there her also called Samaya,
So that when the worlds are burning due to his anger,
Her mercy-moist regard renders to it the cooling touch of early spring.

 

VERSE 40
As found in certain contemplatives who take full refuge in Your Manipura,
I adore that dark cloud of Yours, as traversed by forceful lightning,
Banishing darkness and shining, bursting into sparks with the varied gem-decked brightness of Indra's bow,
While over the three worlds, agonized by the heat of Shiva-sun, it sheds its showering waters.

 

VERSE 41
I meditate on Your new self, as placed at Your Muladhara, together with Samaya,
Given to her light-step dance, as also that great bold-step dancer;
Giving expression thereby to all nine aesthetic interests, thus by their joint lordship,
By mercy ordaining the rebirth of the world, they confer on it the renewed status of having both father and mother.

 

VERSE 42
These sky orbs twelve attained to rubyhood and placed close together
He who can praise thus Your golden crown, o Daughter of the Snowy peak
Would he not have then in his mind the impression of the bow of Indra
When, by reflected glory, a slender crescent is produced by the gems imbedded therein?

 

VERSE 43
Let the blooming blue-lotus forest growth of Your thick, glossy and lustrous locks
O Shiva Consort, banish the darkness within us
To gain whose natural fragrance those other flowers of the garden of Indra,
As I can guess, take their place within Your tresses.

 

VERSE 44
May it bless us, the upsurging billow of the beauty of your face
Outflowing into a stream, to resemble Your parted hairline,
With vermilion dust bedecked, keeping apart the strong growth of tresses
As if in bondage held by anti-darkness gangs, to reveal the tender rays of dawn.



VERSE 45
Your face, exuding perfume, as it gently smiles,
Having Your bright teeth for filament, when surrounded by Your natural curls
Like so many revelling, honey-licking bees; each the eye
Of the Eros-Burner, puts to shame the beauty of the lotus.



VERSE 46
I fain would treat Your forehead, shining with radiant beauty,
As a second crescent to that other frail one fixed to Your crown,
So that reversed in position, both as knit one-to-one,
Results the form of a fully-matured moon, emanating soft ambrosial essence.



VERSE 47
O Uma, ever pained in concern for banishing the fear of all creatures
And thus with eyebrows somewhat arched, with eyes of bee-like beauty below
I do surmise them as making up the bowstring for this bow
Of the Lord of Love, held by his other hand, his arm and fist hiding the middle part.

 

VERSE 48
That eye of Yours, in essence the same as the sun and other than the left,
It generates daytime; the left one, presiding over night, creates its three vigils;
While the third eye, like a half-open golden lotus bud,
Ushers in the twilight time, moving between day and night.



VERSE 49
Vishala the expansive, Kalyani the auspicious; Sphutaruchi the clear of taste
Ayodhya the invincible, by blue lotus bound; Kripadharadhara, on mercy's fountain founded;
A certain Madhura, the sweet; Avanti, of saving power; Bhogavatika, enjoyment affording;
All such names of various cities of lasting fame, within Your total regard they do reign triumphant.

 

VERSE 50
Seeing Your baby bumble-bee-like pair of eyes which, while seeming to cast glances,
Do not give up the bases of Your ears, mellowed by the play of the nine aesthetic interests,
Remaining like aptness with poets, wholly absorbed in drinking the honey within a spray of blooms;
Your mid - forehead lotus-bud eye, by jealousy touched, seems magenta - tinged.

 

VERSE 51
Moved by sentimental love for Shiva, resentful to any other person;
With anger of jealousy towards Ganges and with transports of wonder at Shiva's story;
With fearful surprise for the snakes of Hara, and for friends a jestful smile;
As such a source of lotus-red grace, Your regard, o Mother, for me will remain one of kindliness.

 

VERSE 52
Drawn fully to the ear-limits, like gleaming Eros arrows, with lashes looking like
Arrow-base feathers; these Your eyes, having the effect
Of disturbing the complacent detachment of the City-Burner,
Make for Your glory as the highest clan of the Mountain King.



VERSE 53
The tricolour distinctness of Your eyes, o beloved of Ishana (Lord)
Presented in clear threefold relief by the use of collyrium,
Would seem to create afresh the gods Shiva, Vishnu and Indra,
Bereft of passion and having the qualities of Rajas, Sattva and Tamas.



VERSE 54
O one of kindly, sympathetic regard, Your heart being
Given over to the Lord of Beasts: of rivers such as Shona, Ganga and Yamuna,
Coloured red, white and black:
Their sacred waters You do blend indeed into sinless confluence for our purification.

 

VERSE 55
With eyes open or shut, You can effect, as saints say,
The being or non-being of the world, o Daughter of the Earth-Supporting Lord;
What thus came to be as you opened them, this entire world, without anything left,
To save, I now surmise, You remain now with eyes unwinkingly withdrawn.



VERSE 56
O Aparna, afraid of the gossip carried to Your ear bases by Your lengthened eyes
Surely they lie merged unwinking in water like the female Sapherika fish
This Lakshmi too, leaves behind at dawn the closed petal doors of water lilies,
And at dusk, forcing them open, She re-enters therein.

 

VERSE 57
With Your long-extended regard having the beauty of water-lilies just opening,
O Shiva-Consort, do bathe with mercy even me steeped in misery far off
Thus shall I be blessed with no loss to You;
The moonbeams do fall on forest and mansion with equality.

 

VERSE 58
The two sets of curved limiting lines of Yours, o Daughter of the King of Mountains,
Who is it that will not fancy them as the bow of the flower- arrowed one;
Where, placed obliquely, and reaching beyond the path of hearing,
As it shines, adhering to Your side-glances, it gives the impression of the fixing of the arrow.

 

VERSE 59
This, Your face, I consider Kama's chariot with four wheels,
As seen when Your ear ornaments are reflected on Your shining cheeks;
Surmounting which that great hero, Kama, assails the Lord of Hosts,
Who, with sun and moon for foothold, mounting the globe for chariot, is fully ready to give him battle.

 

VERSE 60
The good sayings of Saraswati, exuding nectar sweetness,
Ever absorbing as with slow interest, You bend Your ears to them, o Blessed One
Each bright wit therein approving with nods,
While Your series of earrings seem to applaud them with their high-pitch jinglings.

 

VERSE 61
O banner of the dynasty of the Himalayas, Your nose ridge, here as Your clan's flagstaff,
Let it ripen for us, standing so near below You, deserving fruit;
Inwardly wearing pearls as they do, and dropped by cool moonbeam respiration,
It bears, even outside, pearls due to the plenitude of the same.

 

VERSE 62
O one of goodly teeth, of Your parted lips naturally red I shall declare the similitude;
Let the coral reef bear fruit by reflection from its original model
With which desiring to climb to the point of mid-parity,
However could it avoid being abashed at least by a degree?

 

VERSE 63
Your smile, like a moonbeam cluster out of Your moon-bright face,
Partridges, on drinking, by surfeit of sweetness
Numbness of tongue they got; thus presently do they imbibe eagerly
The nectar thereof, treating it as sour brew, night by night.

 

VERSE 64
By incessant repetition of a muttered charm glorifying Your Lord;
As offering the flower-red shade of Your tongue triumphs;
The pure, clear, crystal outline image of Saraswati,
While seated at Your tongue-tip, o Mother, in turn attains to rubyhood in its bodily form.

 

VERSE 65
O Mother, they merge, those mouthfuls of betel-juice of Your face,
As Skanda, Vishnu and Upendra, returning from vanquishing demons in battle,
Taking off their headgear and armour, they return, discountenancing
That Shiva's portion of offering meant for Chanda which are moon-bright bits of camphor.



VERSE 66
Starting as You do to sing with Your vina, with head movements,
Of the varied exploits of the City-Burner, You, as the Goddess of the Word
The one of lovely speech, You promptly cover up to silence
Your instrument as mocking the sweetness thereof by sounds of strings.

 

VERSE 67
Affectionately touched by the tip of the hand of the Mountain king,
And lifted again and again by that Shiva out of desire
To drink of the lips thereof, that which makes the handle
For Your face-mirror, how could we ever speak of it, Your peerless chin.

 

VERSE 68
Incessantly embraced by the arms of the City-Burner,
And thrilled to thorny bristling of the hair of Your neck,
It shows a lotus-stalk grace ,smudged by excess of dark cosmetic paste
By itself it retains beneath the creeper-tendril suppleness of the pearly necklace lotus core.

 

VERSE 69
Those three lines on Your neck, o One fully expert in time, syncope and melody;
They are the counter-grounds of Your marital thread of strands and sub-strands,
As they do shine as the ground wherein is born many a melody;
Giving position, regulation and limitation for the three groups of musical keys.

 

VERSE 70
Of the lotus-core tender beauty of Your fourfold hands,
He sings the praise, the lotus-born god, trembling the while because of Shiva's nails
That once of yore nipped off his extra head, he (Brahma) intending now to pray for
Your refuge-granting hand- gesture for each of his remaining heads.

 

VERSE 71
Shining by the brilliance of Your fingernails that mock the colour of
Just-opening lotus buds, how could we speak of the beauty of Your hand?
Granted be, o Uma, that the lotus could have one shade less of parity with it
If at all, and that, alas, only when touched by the magenta paste of the sole of Lakshmi as she plays thereon.

 

VERSE 72
Let it banish our misery, o Goddess, your twin breasts,
Ever being sucked equally by Skanda and Ganesha;
Of which, seeing their milk-spouting fronts, Ganesha causes laughter
As he feels his own front with misgivings in his mind.



VERSE 73
O banner of the King of Peaks, Your breasts, shoulder-borne
Are nectar-bearing ruby pots indeed, without any trace of doubt:
These two, Skanda and Ganesha, both innocent of the pleasures of marital contact
Drinking from them they remain thus child-like to the present day.

 

VERSE 74
Your mid-bust region, wearing a slender garland of pearly beads,
Derived and worked out by some elephant-demon vanquished by Shiva
The semblance bears of his reputation with added redness of lips
And an inner brightness presenting a picturesque charm.

 

VERSE 75
Your breast milk, I consider, o maiden born to the Earth-Supporting Lord,
As if it were word-wisdom's ocean of nectar, flooding from out of Your heart
Offered by one who is kind, which, on tasting,
This Dravidian child, amidst superior poets, is born a composer of charming verse.

 

VERSE 76
That mind-born god, once, on his body being engulfed
In the fire of Shiva's ire, into the deep lake of Your navel,
O Mountain Daughter, he dived, and on re-emerging,
The smoke thus raised, the people look upon as Your rows of hair.



VERSE 77
O auspicious Mother, that something revealed at Your slender waist
Looking like ripples on the surface of the river Kalindi,
Looms in the mind of contemplatives as space reduced to ethereal particles
Entering into the cavity of Your navel, and produced by the friction of Your pot-like breasts.



VERSE 78
O mountain-born, your navel reigns supreme
As a stilled Gangetic whirlpool, as the fecund flowerbed of Your breast-bud-bearing creeper
As the sacrificial fire-pit for Kama, and for Rati as her pleasure- bower
While to the eyes of the Mountain Lord the cavern mouth for his austerities.



VERSE 79
For Your waist, naturally slim, fatigued by weight of bust form,
Bending by form and on the point of breaking,
Equal in state to a tree on a collapsing brook bank;
O mountain-born one let there be security forever.

 

VERSE 80
O Goddess, having made Your twin breasts gain the beauty of gold pots,
Rubbing at the upper arms, bursting the bodice and presently perspiring,
The God of Love, now wanting to save your threefold waist from breaking, saying: "enough",
With three strands of a wild creeper, he presently binds.

 

VERSE 81
Ponderability and extensiveness Shiva once bestowed on You as dowry,
Cutting them off from his own hips; thus it is this
Yours here, both weighty and expansive, cancels out the whole world
And by prior substantiality confers lightness on it too.

 

VERSE 82
Beating both the best of elephant trunks, and groups of golden banana stems,
By thighs and by knees having goodly callosities, due to daily devotions
To Your lord, even the twin frontal knobs of the heavenly elephant
You out-do, o Mountain Daughter triumphant.



VERSE 83
His quiver duplicating as Your twin legs, looking like pillars
Made by the God of Love, for giving battle to Shiva,
They show at their knees ten arrowheads, simulating nails,
Sharpened only on the whetstones which are the crowns of gods.

 

VERSE 84
Mother, Your twin feet, marking as they do the crest point of wisdom,
Wearable as head ornament by You as by me, kindly place both upon my head
Water for their ablution comes from the stream in Shiva's matted hair
And the red paste on their sole comes from the magenta glory of Vishnu's crown.



VERSE 85
Spoken words of worship do we offer to these Your lotus feet,
Beauteous as they are to view, smeared over with paste of magenta glory
Extremely jealous is he, the Lord of Beasts, of that Ashoka tree
In Your pleasure grove, for desiring to be kicked by them.

 

VERSE 86
On having inadvertently defaulted in respect of Your family name,
While stooping in shame, Your husband's forehead as You kicked with Your lotus feet,
That enemy of Shiva, wholly giving up his rancour, his victory celebrates with clamour of many jingle bells.

 

VERSE 87
Capable of being killed by snow, and fully at home on the snow peak;
Sleeping at night, and in bloom both at dawn and after;
Making Lakshmi's bowl overgenerous to Your Vedic worshippers,
Such the twin lotus of Your foot, it triumphs: what wonder herein?



VERSE 88
Your foot is the seat for good repute, o Goddess;
How then from danger to safety did it come? The wise treat it as of tortoise-shell hardness;
How then was it that Shiva,
At his wedding, could lift it with a tender mind to place it on the ritual stone?

 

VERSE 89
With fingernails like moons, putting to shame
The lotus hands of celestial damsels, and feet that seem to mock celestial trees,
O tragic one, Chandi, Your twin feet offer fruit to heaven dwellers
With leaf-tender finger-tips, and bring secure riches to the poor instantly and incessantly.

 

VERSE 90
Giving riches to the needy as required and of its store of honey
Distributing plentifully sweetness around; into such a beauty
Of the celestial blossom of Your feet, immersed altogether,
Let my life go merged with legs and inner organs into six-footed bee-hood.

 

VERSE 91
Your young domesticated cygnets, intent on learning from You the sportive pose of steps,
Practising still with faults, o one of graceful gait, on their not giving up,
With the sound of gem-filled anklets imitating,
It would seem now that You are teaching them.

 

VERSE 92
Gone as they are to Your couch-hood, Brahma, Vishnu, Ishvara, Rudra and others;
Shiva wearing a deceptive canopy derived from his crystal light;
By Your radiance projected on to it and turned to a magenta shade,
As the very embodiment of erotic bliss, he charms the view.

 

VERSE 93
Curly in hair and naturally simple in smile, with a magenta-flower-supple mind,
Bust firm like a kitchen mashing stone, extremely slender at waist,
With solid shoulders and hips, thus Shiva's world to save,
She reigns supreme, a certain kindliness called magenta.

 

VERSE 94
The dark zone of the moon is musk; the moon's orb is water;
The moon's phases they are camphor bits filling a box of ebony,
Which, when emptied daily by Your joys,
For Your sake, Brahma fills it again and again.



VERSE 95
You being the consort of Shiva, it is difficult indeed
For unsettled minds to attain the equivalent of the way of Your worship;
Whatever limitless gains they, the divinities such as Indra and others might have had,
Those psychic powers such as Anima, from just outside Your door they got them.

 

VERSE 96
The wife of Brahma, how many poets does she not woo?
How many are there not, who, by having some wealth, can claim Lakshmi's hand?
O constancy's ultimate meaning, outside Shiva
The contact with Your breasts is hard even to a favourite garden tree.



VERSE 97
As the Goddess of the Word, Veda-knowers speak of You as Brahma's wife
Lakshmi is Vishnu's wedded one, and the Mountain Daughter is Shiva's consort;
Certain others as the unattainable and boundless fourth state refer to You;
While you remain as the great Maya, making the universe go round, as queen of the Ultimate Absolute.

 

VERSE 98
When, o Mother, tell me, shall this thy supplicant drink
Of the ablution water of Your magenta sap-smeared feet?
As causing even one dumb born to be a poet,
When will he enjoy within the flavour of the betel juice in the lotus mouth of the Word-Goddess?

 

VERSE 99
Sporting with Saraswati and with Lakshmi as co-consort with Brahma and Vishnu
While disrupting with his charming body the constancy of Rati to her lord,
With banished animality and bondage, living long,
He enjoys what is known as ultimate bliss, your supplicant.



VERSE 100
To carry out the ritual propitiation of the sun by waving flames,
To offer oblations to the moon, the source of nectar, by particles of moonstone water,
To appease the deep with offerings of water its own,
Such, o Mother is this wordy praise with words Your own.

 

 

SECTION TITLES AND VERSES

 

SECTION 1, "MAIN STRUCTURAL FEATURES INTRODUCED" (V1 TO V10)

PRELIMINARY STRUCTURAL DYNAMISMS

The problem is to treat the Denominator side of the first verse so as to be sure that it has a fully cancelable status with the vertical axis of Shiva.
You need both a horizontal line and an Alpha Point reference.

 

1) Vertical-Horizontal. Paradox Posed as between the Field and the Knower of the Field at the core of the Absolute.

Shiva, united with Shakti, becomes able to manifest,
If otherwise, this god knows not even how to pulsate,
How then could one of ungained merit be able to bow to, or even praise,
One, such as You, adored even by Vishnu, Shiva and Brahma.

 

2) Particle World. "Monde Affiné" - Three Agents.

The fine dust arising from Your lotus feet,
Brahma, gathering up, the worlds creates,
Vishnu incessantly bears them up somehow with his thousand heads,
And Shiva, having shaken it up, accomplishes with it his ash-wearing rite.



3) Quaternion. Four-fold Value-affiliations as Among Human Beings: Quaternian Structure.

To the uninstructed You are the light-city, inner darkness banishing, mid-ocean placed
To inert ones the mind-expanding ooze of sweetness within blossoms celestial,
While for indigent spirits you become a brood of philosophers' stones
And for those submerged in the ocean of birth and death, the very tusk of Vishnu's boar

 

4) Square-root-of-minus-one Ontology. Primacy of Cause over Effect: Satkaranavada.

You alone do not act overtly, by gesture, the promises of refuge or boon
Other arms than Yours can confer protection or boon;
What is more, Your feet, o sole refuge of the worlds of beings,
Are alone expert indeed in yielding boons more than asked for.

 

5) Reflected Glory onto Vishnu and Mohini.

To the uninstructed You are the light-city, inner darkness banishing, mid-ocean placed
To inert ones the mind-expanding ooze of sweetness within blossoms celestial,
While for indigent spirits you become a brood of philosophers' stones
And for those submerged in the ocean of birth and death, the very tusk of Vishnu's boar.

 

6) Ocasionalism Gives Power to Eros. (Springtime, flower-arrows, etc.)

O Daughter of the Snowy Peak, just deriving from Your glance askance
Whatsoever grace he could; with flowery bow, bumble-bee bowstring,
And five-flowered dart and springtide for minister; all these as one withal:
Mounting the chariot of the mountain breeze , he victoriously reigns, that god of love. 



7) Structural Dynamism - KEY VERSE. Four-fold Structures Superposed. (Kvanat kanchi…)

O let Her appear before us, that proud counterpart of the City-Burner
Resounding with waist-belt of jingle bells, recumbent by breasts
Like frontal bulges of a calf elephant, slim of waist, with autumnal full-moon mature face,
Holding aloft bow and arrow, noose and goad!

 

8) Inner Beauty Unit. Yogi's Vision of Beauty, Completely Seen. (Gem island mid-nectar ocean placed.)

Seated on a couch of Shiva-form and having the Supreme Shiva for cushion;
Placed within a mansion wafted round by the perfume of blossoms of Kadamba trees,
Located within a celestial grove on a pearly-gem island in the midst of a nectar ocean,
Some fortunate ones contemplate You as the upsurging billow of mental joy.

 

9) Series of such Inner Beauty Units. Sadhadharas - Series of Vertical Values. (The Chakras )

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

 

10) Ascent and Descent of Values. A Verticalized Series Ranging both Ways. (Kundalini, 3 ½ Coils.)

With streaks of ambrosial essence streaming from between Your twin feet,
Sprinkling blessings over the worlds and again from that point of high intelligible values,
Turning Yourself into a snake form of three coils and a half,
You sleep in the hollow of the Kulakunda, Your proper ground attaining.

 

 

SECTION 2:  SRI CHAKRA AND ARUNA. (V11 TO V20)

11) Sri Chakra Presented as a Conical Section View with 43 Elements of Refuge. CENTRAL VERSE

With the four of Shiva and of Shiva-maids five,
And severally the nine of prime nature, with eight and sixteen petals
Three circles and three lines, are thus complete,
The forty-three elements making up Your angular refuge.

 

12) Conceptual Versus Perceptual Beauty. Existence Superior to Essence. (Innocent young maidens.)

O Daughter of the High Peak, to estimate the equal of Your beauty,
The best among poets, exercising their fancy, somehow created Brahma and others.
Eager Your beauty to see, heavenly damsels mentally attain to
What is hard even for ascetics to attain; the state of union with Shiva.

 

13) Aegis of the Absolute. Ambivalent Compensation Between Numerator Ugliness and Denominator Beauty. (Sub Specie Aeternitatis.)

A man overaged, uninteresting to the view, inert in sport;
Falling within the range of Your side-glance, they follow, running in hundreds -
Young women, with hair dishevelled, their rounded, shapely breasts by blown-off clothes revealed
Their waistbands bursting and silk garments in disarray.

 

14) Numerological Structuralism. Vertical Conic Section Numerologically Analysed.

Fifty-six for earth; for water fifty-two;
Sixty two for fire; for air fifty-four;
Seventy-two for ether; for mind sixty-four;
Are the rays, even beyond these are Your twin feet.

 

15) Vedic Devi. Worlds of the two Dictionaries Cancelling into a Common Value.

Clear as autumnal moonbeams, with matted hair-made diadem,
Attached with crescent and with hands bearing refuge or boon-giving
gesture, rosary made of crystal-clear beads and book:
How could anyone, worshipping You but once,
Not gain in flow of words somehow, the pleasing sweetness of honey, milk and grapes?

 

16) Magenta Cancellation - CENTRAL VERSE. Magenta Glory by Cancellation in the Minds of Poets.

That beauty residing within the minds of superior poets,
Resembling that of a forest of lotuses, when touched by the tender light of dawn:
He who can thus adore You, who are so dear to Brahma as magenta itself;
He, by profound words of most tender erotic content, shall please the same select ones.

 

17) Scintillating and Fluorescent Light. Semantic Blending of Vertical with Horizontal Word-bearing Elements.

He who can contemplate those word-bearing elements of broken moonstone lustre,
Joined with Vasinis, having an elusively fluid gleam;
He becomes, o Mother, the author of great poetic works,
Adding sweet charm to the lotus face of the Goddess of the Word.

 

18) Complete Aurora - CENTRAL VERSE. Cancelable Counterparts. (How many, how many others?)

With shades of Your bodily form enriched by the tenderly sunlit dawn,
And the whole earth submerged within magenta glory;
That man, able to contemplate You thus, wins You over with Urvasi and how many, how many other
Heavenly nymphs having gentle, startled, wild deer eyes. 



19) Unilateral and One-sided Shakti Worship. Revalued Partial Samayin Cult. (Atilaghu.)

O Shiva Consort, making Your face the locus with twin breasts below,
And below still, as the better half of Shiva; meditating on Your erotic aspect,
Without delay he can stir the hearts of women; this is but slight
And at once agitates even Her of the three worlds, when sun and moon form Her twin breasts.

 

20) Centralization of Tendencies to Gain Two Kinds of Psychic Powers. Finding the Heart Locus.
FOR EVERY ONE OF THESE VERSES, THE FOUR FEET MUST BE REVEALED;THIS IS THE SECRET

He who can bring You, as emanating nectar out of Your limbs all around,
Into his heart like a moonstone-made statue,
He can quell the pride of serpents like the King of Birds
And a fever patient cure by his very look of ambrosial streak.

 

 

SECTION 3: TRANSCENDENCE BY VERTICALIZATION. INTERSUBJECTIVE AND TRANS-PHYSICAL REVERSIBILITY.OSMOTIC INTERCHANGE, COMPLEMENTARITY, ETC.
(V21 TO V30)

 

21) Negative Verticality. Thin Parameter Revealed. (Devi's lightning-streaked body)

As lightning-streak-bodied, made of sun, moon and fire,
And as placed even above the six lotuses in a great lotus grove;
Those great ones, as seers of such, Your aspect, free from dross and ignorance
They experience the upsurging billow of ultimate delight.

 


22) Revisable Equation. (Bhavani tvam.) No Unilateral Worship. Reversibility - CENTRAL VERSE

O Goddess, You, on this Your servant bestow a kind look:
Thus intending to adore, no sooner one begins saying:
"O Goddess, You"; You grant him that state of identity with You
The same as what Vishnu, Brahma and Indra accomplished by the waving of the lights on their diadems.

 


23) Reciprocity. All but the Omega Point Absorbed Stage by Stage by Magenta Cloud. (Crescent and magenta are made equally thin and cancelled.)

Absorbing the left half of the body of Shiva and unsatisfied in mind still,
The other, I surmise, became absorbed also; therefore,
This Your form, having three eyes and bent by twin breasts,
Wearing crescent bedecked crown, became of magenta glory.

 

24) Plus and Minus Compensation. Transcendence Within Brackets.

Brahma creates the world, Vishnu protects, Shiva destroys:
Negating all this and his own body, the lord fades out.
Thus what results: Shiva who has eternity for prefix (Sadashiva)
He blesses, obeying the orders derived from Your instantly vibrating eyebrow-twigs.

 

25) Alpha to Omega modes. Absolutist Worship Transcends both Ontological and Teleological values. (Puja puja.)

Of the three gods, who are originated from Your three nature modalities,
Their worship of You, o Consort of Shiva, would alone be worship
Offered to Your twin feet; it is indeed thus when they do so,
Standing eternally beside Your gem-decked foot-stool, joining bud-like their hands well above their crowns.

 

26) Negative Becoming. Quintuple Functions Abolished. Five-foldedness of Phenomenal Functioning Absorbed by Vertical Axis. ("He does sport alone")

Brahma regains his pure quintuple nature; Vishnu becomes passionless;
The God of Death destruction meets; the God of Wealth becomes bankrupt;
The great Indra becomes functionless, with half-shut eyes;
In this great doom, he sports, o constant spouse, Your lord alone.

 

27) Homogeneity of Physical and Metaphysical Worship when Treated as Ensembles. Reversible Ritualism - CENTRAL VERSE

Incantations, mutterings, ritual acts, hand gestures, gait,
Circumambulations, food offerings, inclination, adoration by lying down
All such enjoyments, as coming within the scope of self-surrender,
And thus synonymous with worship of You, let such be what from me might shine forth.

 

28) Dignity of the Fourth Dimension. Shiva Survives by Pure Verticality Between Two Limits. (Poison and marital string.)

Even on partaking of nectar, so potent against fear, old age and death;
They reach their doom, all such gods as Brahma or Indra;
On even swallowing that terrible super-poison, for Shiva, time's function is not operative:
The source here being the power of Your marital string.

 

29) Ascending to Omega Point Dignity. Eternal Present Movement in the World of Intentionality, Dignity of the Devi and Shiva.

"Remove Brahma's crown from before, and that of him called Vishnu;
You are going to hurt his hard headgear: bypass Indra's crown"
As inclining in front of You, they remain, at that very moment for him on his homecoming,
You are about to rise. Such words of Your retinue, they do ring supreme.

 

30) Reversibility of Psychic Dignity. Self and Non-Self Reciprocity in Attaining Psychic Powers: the Worshipper is Worshipped as a Result.

Out of the rays arising from Your proper body, representing psychic powers such as atomicity,
Attendant on You, o Eternal One, one who contemplates these in terms of oneself:
What wonder for him that all benefits from the Three-Eyed One should only be worth rejection,
And that the fire of doom should perform for him in turn the light-waving rite.

 

Language begins subjectively, and the way you move the lips is the motor part.
The physical is the moving of the lips; the subjective is what you understand.
Thus, when two people are talking, it is an inter-subjective and trans-physical interchange.

 

SECTION 4: STRUCTURAL DYNAMISM STUDIED WITH MONOMARKS LEADING TO REGULAR ADHARAS. (V31 TO V41)

31) 64 Know-how Factors and their Negative Counterparts.

By sixty-four know-how factors, each capable of generating its own psychic power;
Transcending the whole world while remaining immobile,
The Lord of Beasts, again, by Your insistence, by that free expertness of Yours,
Caused to be brought down this firm earth for the unified fulfilment of all life purposes.

 

32) 3 Sets of Monomarks and Letters for Distinguishing 4 Limbs as Pertaining to the Heart.

Shiva, Parvati, Eros and earth; sun, moon,
God of Love, swan and Indra; Para, Mara and Hari;
With these three sets, with their heart monomarks suffixed,
They adore Your letters, o Mother, by way of naming Your component limbs.

 

33) Garlands of monomarks. Dynamics of Hedonistic Ritual. (Mahabhoga.)

Eros, source, wealth; this triplet placing first within Your charm
O lone and eternal one, innumerable seekers of great enjoyment
Adore You, telling beads of philosopher's stone, ever sacrificing into the fire of Shiva
By hundreds of streaks of clarified butter oblations from the celestial cow.

 

34) Vertical participation. Reciprocity of Bodies. Shiva and Shakti Participate; Sun and Moon as Breasts.)

You, who are the body of Shiva, having sun and moon for twin breasts
Yourself, I surmise, o Goddess, as a new sinless self.
Therefore, by mutual complementarity, this relation remains one of common reciprocity
Between You two, participating on equal terms of transcendent bliss.



35) Descending Series of Manifest Values, Representing Chakras.

The mind You are, the sky, the wind too, also the charioteer of the winds
You are the water, as well as the earth; apart from Your manifest form there is nought else indeed!
You, in order to manifest Your own self, by taking a universal form
Of mental bliss substantial, do assume the role of Shiva-bride, and thus triumphant rule.

 

36) Ajña Chakra Described. (The tendency or reference is upwards.)

I adore that Shiva ultimate, as placed in Your willing centre, shining with the brilliance
Of millions of suns and moons, whose flanks are illumined by the light of the intelligibles beyond;
Whom, worshipping with devotion, lifted beyond the reach of sun, moon and fire,
In that shining domain above all need, one lives indeed in that bright world of light.



37) Visuddhi Chakra. (Belongs to the Devi as above, She is there with Shiva.)

In Your Vishuddhi Chakra, crystal-clear and sky-generating,
I adore Shiva and the Goddess also, with a parity of status with Shiva
By whose combined, streaming, moonbeam-like fluorescence,
With banished inner dross, like a female partridge, the world hereunder shines.

 

38) Anahata Chakra. Restful Middle Chakra with Two Swans.

I adore those twin swans, intent on enjoying the nectar
Of the lotus blooming within the consciousness of certain great ones,
Moving within whose minds as a result of their elaboration, the maturation
Of the eighteen arts takes place freed from dross, their goodness extracted as milk from water.

 

39) Svadhisthana Chakra. The Cooling Touch of Samaya.

O Mother, I praise, placing in Your Svadhisthana the fire of sacrifice
Ever looking upon it as the great fire of doom, and placing there her also called Samaya,
So that when the worlds are burning due to his anger,
Her mercy-moist regard renders to it the cooling touch of early spring.

 

40) Manipura Chakra. A Cloud which Rains on the Burning Worlds.

As found in certain contemplatives who take full refuge in Your Manipura,
I adore that dark cloud of Yours, as traversed by forceful lightning,
Banishing darkness and shining, bursting into sparks with the varied gem-decked brightness of Indra's bow,
While over the three worlds, agonized by the heat of Shiva-sun, it sheds its showering waters.

 

41) Muladhara Chakra. They Confer on the World the Status of Being Parented.

I meditate on Your new self, as placed at Your Muladhara, together with Samaya,
Given to her light-step dance, as also that great bold-step dancer;
Giving expression thereby to all nine aesthetic interests, thus by their joint lordship,
By mercy ordaining the rebirth of the world, they confer on it the renewed status of having both father and mother.

 

The whole of the Kula-path is passed in review.

NOTE: there is ambivalence as between 31-34 and 35-41. In the last three Chakras, Shiva and Samaya cancel out to give an absolutist Devi, but each Chakra "belongs" to the Devi. Verses 31-34 are building blocks, then come the Chakras.

 

 

SECTION 5: BRACKETING OF BOWS AND CRESCENTS AT DIFFERENT HYPOSTATIC LEVELS IN DESCENDING ORDER. (V42 TO V50)

42) 12 Suns Fused and Verticalized into Twilight, the Devi's Crown as 12 Suns. Verticalized Absolute - CENTRAL VERSE

These sky orbs twelve attained to rubyhood and placed close together
He who can praise thus Your golden crown, o Daughter of the Snowy peak
Would he not have then in his mind the impression of the bow of Indra
When, by reflected glory, a slender crescent is produced by the gems imbedded therein.

 

43) Omega Point Darkness Cancelled. Ontological Richness as against Teleological Indigence, even at the Hypostatic Level.

Let the blooming blue-lotus forest growth of Your thick, glossy and lustrous locks
O Shiva Consort, banish the darkness within us
To gain whose natural fragrance those other flowers of the garden of Indra,
As I can guess, take their place within Your tresses.

 

44) Vertical Parameter Produced Upwards, Invasion of Rival Horizontal Forces. (The Devi's hairline.)

May it bless us, the upsurging billow of the beauty of your face
Outflowing into a stream, to resemble Your parted hairline,
With vermilion dust bedecked, keeping apart the strong growth of tresses
As if in bondage held by anti-darkness gangs, to reveal the tender rays of dawn.



45) Bees Around Lotus Face. Central and Peripheral Ambivalence: Conical Cross-section. The Devi's Face with the Mouth as Bindu or Central Locus.

Your face, exuding perfume, as it gently smiles,
Having Your bright teeth for filament, when surrounded by Your natural curls
Like so many revelling, honey-licking bees; each the eye
Of the Eros-Burner, puts to shame the beauty of the lotus. 



46) Absolute Beauty as Enclosed within Crescent Moon Brackets. Two Crescents - One crescent is the Mind, the other is Matter, and they Participate.

I fain would treat Your forehead, shining with radiant beauty,
As a second crescent to that other frail one fixed to Your crown,
So that reversed in position, both as knit one-to-one,
Results the form of a fully-matured moon, emanating soft ambrosial essence.



47) Eros' Bow. Tragic Contradiction between the Bow of Devi and the Bow of Eros at Right-angles.

O Uma, ever pained in concern for banishing the fear of all creatures
And thus with eyebrows somewhat arched, with eyes of bee-like beauty below
I do surmise them as making up the bowstring for this bow
Of the Lord of Love, held by his other hand, his arm and fist hiding the middle part.

 

48) 90 Degree Tilt; Vertical Twilight Derived from Horizontal Sun and Moon. Day and Night - CENTRAL VERSE

That eye of Yours, in essence the same as the sun and other than the left,
It generates daytime; the left one, presiding over night, creates its three vigils;
While the third eye, like a half-open golden lotus bud,
Ushers in the twilight time, moving between day and night.



49) Value Cities. Each of Eight Famous Cities has a Personality Derived from a Value Factor.

Vishala the expansive, Kalyani the auspicious; Sphutaruchi the clear of taste
Ayodhya the invincible, by blue lotus bound; Kripadharadhara, on mercy's fountain founded;
A certain Madhura, the sweet; Avanti, of saving power; Bhogavatika, enjoyment affording;
All such names of various cities of lasting fame, within Your total regard they do reign triumphant.

 

50) Jealous Mid-eye. Jealousy between Vertical and Horizontal Value Factors. (Magenta has a vertical and horizontal participation.)

Seeing Your baby bumble-bee-like pair of eyes which, while seeming to cast glances,
Do not give up the bases of Your ears, mellowed by the play of the nine aesthetic interests,
Remaining like aptness with poets, wholly absorbed in drinking the honey within a spray of blooms;
Your mid - forehead lotus-bud eye, by jealousy touched, seems magenta - tinged.

 

 

SECTION 6: EROTIC AESTHETIC INTERESTS, SOMETIMES VERTICALLY NEUTRALIZED. FOUR GRADES OF STRUCTURES SUPERIMPOSED ON THE FACE. (V51 TO V60)

 

51) The Nine Rasas. Seven Moods or Attitudes. Karuna or Kindness towards the Devotee.

Moved by sentimental love for Shiva, resentful to any other person;
With anger of jealousy towards Ganges and with transports of wonder at Shiva's story;
With fearful surprise for the snakes of Hara, and for friends a jestful smile;
As such a source of lotus-red grace, Your regard, o Mother, for me will remain one of kindliness.

 

The face is the index of the soul; all art is only the playing of the needle on the dial of the face.
The most important thing is that someone is shooting arrows and there is nothing to do but to learn how to fall down in the right way. Forbidden fruit, concupiscence, original sin etc. are all dealt with properly here.

 

52) Eros' Arrows Verticalized (i.e. homogeneous in the vertical). Kataksha, Side-glance of Jealousy for Shiva.

Drawn fully to the ear-limits, like gleaming Eros arrows, with lashes looking like
Arrow-base feathers; these Your eyes, having the effect
Of disturbing the complacent detachment of the City-Burner,
Make for Your glory as the highest clan of the Mountain King.



53) Homogeneous Structures. Three Gunas like Folded Japanese Fan. Through a Burst of Passion, because the Devi is in Love, the Three Gunas are Absorbed wholly into the Horizontal.

The tricolour distinctness of Your eyes, o beloved of Ishana (Lord)
Presented in clear threefold relief by the use of collyrium,
Would seem to create afresh the gods Shiva, Vishnu and Indra,
Bereft of passion and having the qualities of Rajas, Sattva and Tamas.



54) Flux of Three Gunas. The Same is Vertically Folded. Bathing at the Triple Confluence of Rivers is Purifying.

O one of kindly, sympathetic regard, Your heart being
Given over to the Lord of Beasts: of rivers such as Shona, Ganga and Yamuna,
Coloured red, white and black:
Their sacred waters You do blend indeed into sinless confluence for our purification.

 

55) Open and Shut, Figure 8. Neutral Balance between the Phenomenal and Noumenal Aspects of Creation. (Her eyes are half-open.)

With eyes open or shut, You can effect, as saints say,
The being or non-being of the world, o Daughter of the Earth-Supporting Lord;
What thus came to be as you opened them, this entire world, without anything left,
To save, I now surmise, You remain now with eyes unwinkingly withdrawn.

 

56) Participation of Eye and Ear Interests like Sapharika Fish. Four-leaf Clover Structure - CENTRAL VERSE

O Aparna, afraid of the gossip carried to Your ear bases by Your lengthened eyes
Surely they lie merged unwinking in water like the female Sapherika fish
This Lakshmi too, leaves behind at dawn the closed petal doors of water lilies,
And at dusk, forcing them open, She re-enters therein.

 

57) Lengthened Side-glance Better than a Frontal Glance, Moonbeams. No Direct Favouritism. (The story of Pancha Nalli can be used here.)

With Your long-extended regard having the beauty of water-lilies just opening,
O Shiva Consort, do bathe with mercy even me steeped in misery far off
Thus shall I be blessed with no loss to You;
The moonbeams do fall on forest and mansion with equality.

 

58) Structural Dynamism Within Four Limits. Ear and Eye Bow Limits, with Eros' Arrow aimed at Right-Angles.

The two sets of curved limiting lines of Yours, o Daughter of the King of Mountains,
Who is it that will not fancy them as the bow of the flower- arrowed one;
Where, placed obliquely, and reaching beyond the path of hearing,
As it shines, adhering to Your side-glances, it gives the impression of the fixing of the arrow.

 

59) Two Chariots. Vertical and Horizontal Chariots Confronting Each Other. (Four-wheeled and one-wheeled chariots.)

This, Your face, I consider Kama's chariot with four wheels,
As seen when Your ear ornaments are reflected on Your shining cheeks;
Surmounting which that great hero, Kama, assails the Lord of Hosts,
Who, with sun and moon for foothold, mounting the globe for chariot, is fully ready to give him battle.

 

60) Medium and Message. Interaction between Perceptual and Conceptual Values. (The Devi's telephone call.)

The good sayings of Saraswati, exuding nectar sweetness,
Ever absorbing as with slow interest, You bend Your ears to them, o Blessed One
Each bright wit therein approving with nods,
While Your series of earrings seem to applaud them with their high-pitch jinglings.

 

.
SECTION 7: INTIMATE VERTICAL PARTICIPATION (V61 TO V70) AND ONE-ONE CORRESPONDENCE. (IN V70)

 

61) Levels of Inner and Outer Plenitude.

O banner of the dynasty of the Himalayas, Your nose ridge, here as Your clan's flagstaff,
Let it ripen for us, standing so near below You, deserving fruit;
Inwardly wearing pearls as they do, and dropped by cool moonbeam respiration,
It bears, even outside, pearls due to the plenitude of the same.

 

62) Figure-8 Dance in Search for Parity between Redness of Lips and Teeth.

O one of goodly teeth, of Your parted lips naturally red I shall declare the similitude;
Let the coral reef bear fruit by reflection from its original model
With which desiring to climb to the point of mid-parity,
However could it avoid being abashed at least by a degree?

 

63) Participation in Terms of the Enjoyment of Moonlight. (Sweet and sour alternate.)

Your smile, like a moonbeam cluster out of Your moon-bright face,
Partridges, on drinking, by surfeit of sweetness
Numbness of tongue they got; thus presently do they imbibe eagerly
The nectar thereof, treating it as sour brew, night by night.

 

64) Adhyasa: Participation at the Tongue-tip. (The tongue-tip and a crystal image participate with each other.)

By incessant repetition of a muttered charm glorifying Your Lord;
As offering the flower-red shade of Your tongue triumphs;
The pure, clear, crystal outline image of Saraswati,
While seated at Your tongue-tip, o Mother, in turn attains to rubyhood in its bodily form.

 

65) Polyvalent Participation, with Reservation by Skanda.

O Mother, they merge, those mouthfuls of betel-juice of Your face,
As Skanda, Vishnu and Upendra, returning from vanquishing demons in battle,
Taking off their headgear and armour, they return, discountenancing
That Shiva's portion of offering meant for Chanda which are moon-bright bits of camphor.



66) Line of Separation. (Her vina covered with cloth.)

Starting as You do to sing with Your vina, with head movements,
Of the varied exploits of the City-Burner, You, as the Goddess of the Word
The one of lovely speech, You promptly cover up to silence
Your instrument as mocking the sweetness thereof by sounds of strings.

 

67) Father's Touch on Her Chin is Static, Her Husband's is a Dynamic Figure-8.

Affectionately touched by the tip of the hand of the Mountain king,
And lifted again and again by that Shiva out of desire
To drink of the lips thereof, that which makes the handle
For Your face-mirror, how could we ever speak of it, Your peerless chin.

 

68) Contrast Puts Absolute Beauty into Relief.

Incessantly embraced by the arms of the City-Burner,
And thrilled to thorny bristling of the hair of Your neck,
It shows a lotus-stalk grace, smudged by excess of dark cosmetic paste
By itself it retains beneath the creeper-tendril suppleness of the pearly necklace lotus core.

 

69) Three Subtle Vertical Levels of Music.

Those three lines on Your neck, o One fully expert in time, syncope and melody;
They are the counter-grounds of Your marital thread of strands and sub-strands,
As they do shine as the ground wherein is born many a melody;
Giving position, regulation and limitation for the three groups of musical keys.

 

70) Fourfold and One-to-one Correspondence at Two Levels.

Of the lotus-core tender beauty of Your fourfold hands,
He sings the praise, the lotus-born god, trembling the while because of Shiva's nails
That once of yore nipped off his extra head, he (Brahma) intending now to pray for
Your refuge-granting hand- gesture for each of his remaining heads.

 

 

SECTION 8: BRACKETING, ONE-ONE CORRESPONDENCE AT LOWER LEVELS OF THE VERTICAL AXIS; RECIPROCITY. (V71 TO V80)

 

71) Bracketing within upper and Lower Limits. (The Vedantic contribution.)

Shining by the brilliance of Your fingernails that mock the colour of
Just-opening lotus buds, how could we speak of the beauty of Your hand?
Granted be, o Uma, that the lotus could have one shade less of parity with it
If at all, and that, alas, only when touched by the magenta paste of the sole of Lakshmi as she plays thereon.

 

72) Mutual Adhyasa; Mutual Error between Mother and Child; Hallucination both Ways.

Let it banish our misery, o Goddess, your twin breasts,
Ever being sucked equally by Skanda and Ganesha;
Of which, seeing their milk-spouting fronts, Ganesha causes laughter
As he feels his own front with misgivings in his mind.

 

73) Compensation between Higher Nourishment, giving a Purer Life. Ganesha and Subrahmanya together make up the Absolute.

O banner of the King of Peaks, Your breasts, shoulder-borne
Are nectar-bearing ruby pots indeed, without any trace of doubt:
These two, Skanda and Ganesha, both innocent of the pleasures of marital contact
Drinking from them they remain thus child-like to the present day.

 

74) Descending Parameter from Pearl to Ruby to Black.

Your mid-bust region, wearing a slender garland of pearly beads,
Derived and worked out by some elephant-demon vanquished by Shiva
The semblance bears of his reputation with added redness of lips
And an inner brightness presenting a picturesque charm.

 

75) Milk of Wisdom Equated to Words of Wisdom. (Dravida shishyu.)

Your breast milk, I consider, o maiden born to the Earth-Supporting Lord,
As if it were word-wisdom's ocean of nectar, flooding from out of Your heart
Offered by one who is kind, which, on tasting,
This Dravidian child, amidst superior poets, is born a composer of charming verse.

 

76) Parameter Continued below the O Point. (Eros dives into a navel-lake.)

That mind-born god, once, on his body being engulfed
In the fire of Shiva's ire, into the deep lake of Your navel,
O Mountain Daughter, he dived, and on re-emerging,
The smoke thus raised, the people look upon as Your rows of hair.



77) Pure Structuralized Space Reduced to Ethereal Shreds.

O auspicious Mother, that something revealed at Your slender waist
Looking like ripples on the surface of the river Kalindi,
Looms in the mind of contemplatives as space reduced to ethereal particles
Entering into the cavity of Your navel, and produced by the friction of Your pot-like breasts.



78) O Point with Four-fold Polyvalence. (Aspects of the Devi's navel.)

O mountain-born, your navel reigns supreme
As a stilled Gangetic whirlpool, as the fecund flowerbed of Your breast-bud-bearing creeper
As the sacrificial fire-pit for Kama, and for Rati as her pleasure- bower
While to the eyes of the Mountain Lord the cavern mouth for his austerities.

 

79) Precarious Vacuity at the O Point. ("Let there be security forever")

For Your waist, naturally slim, fatigued by weight of bust form,
Bending by form and on the point of breaking,
Equal in state to a tree on a collapsing brook bank;
O mountain-born one let there be security forever.

 

80) Reciprocity Between Horizontal and Vertical Tendencies in Life.  (Eros saving the tragedy of double negation.)

O Goddess, having made Your twin breasts gain the beauty of gold pots,
Rubbing at the upper arms, bursting the bodice and presently perspiring,
The God of Love, now wanting to save your threefold waist from breaking, saying: "enough!"
With three strands of a wild creeper, he presently binds.

 

 

SECTION 9: FINAL STRUCTURAL DETAILS: PRIMACY OF ONTOLOGICAL ABSOLUTE. (V81 TO V90)

 

81) Figure 8 Circulation between Existence and Subsistence. Ponderability and Expansiveness.

Ponderability and extensiveness Shiva once bestowed on You as dowry
Cutting them off from his own hips; thus it is this
Yours here, both weighty and expansive, cancels out the whole world
And by prior substantiality confers lightness on it too.

 

82) Knee Callosities and Frontal Lobes of Elephants Compared and Cancelled.

Beating both the best of elephant trunks, and groups of golden banana stems,
By thighs and by knees having goodly callosities, due to daily devotions
To Your lord, even the twin frontal knobs of the heavenly elephant
You out-do, o Mountain Daughter triumphant.

 

83) Universal Concrete Gets Primacy with Arrowheads Simulating Toe-nails.

His quiver duplicating as Your twin legs, looking like pillars
Made by the God of Love, for giving battle to Shiva,
They show at their knees ten arrowheads, simulating nails,
Sharpened only on the whetstones which are the crowns of gods.

 

84) Cancellability of Vertical Limits: the Bottom Limit of the Vertical Axis Becomes the Top of the Next Vertical.

Mother, Your twin feet, marking as they do the crest point of wisdom,
Wearable as head ornament by You as by me, kindly place both upon my head
Water for their ablution comes from the stream in Shiva's matted hair
And the red paste on their sole comes from the magenta glory of Vishnu's crown.

 

85) Mystical Thrill at Different Levels of the Vertical Axis, Extending to Lower than Human Levels.

Spoken words of worship do we offer to these Your lotus feet,
Beauteous as they are to view, smeared over with paste of magenta glory
Extremely jealous is he, the Lord of Beasts, of that Ashoka tree
In Your pleasure grove, for desiring to be kicked by them.

 

86) Ontology Meets Teleology Rather Abruptly; Shiva is Indifferent to Nominalism.

On having inadvertently defaulted in respect of Your family name,
While stooping in shame, Your husband's forehead as You kicked with Your lotus feet,
That enemy of Shiva, wholly giving up his rancour, his victory celebrates with clamour of many jingle bells.

 

87) Four-fold Circulation of Values Between Two Pairs of Lotus Feet.

Capable of being killed by snow, and fully at home on the snow peak;
Sleeping at night, and in bloom both at dawn and after;
Making Lakshmi's bowl overgenerous to Your Vedic worshippers,
Such the twin lotus of Your foot, it triumphs: what wonder herein?

 

88) A Pun on the Conceptual and Perceptual Import of Value. (Shiva lifts Devi's foot.)

Your foot is the seat for good repute, o Goddess;
How then from danger to safety did it come? The wise treat it as of tortoise-shell hardness;
How then was it that Shiva,
At his wedding, could lift it with a tender mind to place it on the ritual stone?

 

89) Hypostatic and Hierophantic Values Reviewed Together under the Aegis of the Absolute. (Chandi, the tragic one.)

With fingernails like moons, putting to shame
The lotus hands of celestial damsels, and feet that seem to mock celestial trees,
O tragic one, Chandi, Your twin feet offer fruit to heaven dwellers
With leaf-tender finger-tips, and bring secure riches to the poor instantly and incessantly.

 

90) Vertical and Concentric Absorption in the World of Absolute Value. (Let my life Go…)

Giving riches to the needy as required and of its store of honey
Distributing plentifully sweetness around; into such a beauty
Of the celestial blossom of Your feet, immersed altogether,
Let my life go merged with legs and inner organs into six-footed bee-hood.

 

SECTION 10: FINAL ABSTRACTION AND GENERALIZATION WITHOUT ABOLISHING UNIVERSAL CONCRETE EXISTENCE OR REALITY. (V91 TO V100)

 

91) Ontological Limit Structurally Understood and Revised Conceptually.

Your young domesticated cygnets, intent on learning from You the sportive pose of steps,
Practising still with faults, o one of graceful gait, on their not giving up,
With the sound of gem-filled anklets imitating,
It would seem now that You are teaching them.

 

92) Downwards Normalization of the Devas from the Omega Point. (Shiva's canopy.)

Gone as they are to Your couch-hood, Brahma, Vishnu, Ishvara, Rudra and others;
Shiva wearing a deceptive canopy derived from his crystal light;
By Your radiance projected on to it and turned to a magenta shade,
As the very embodiment of erotic bliss, he charms the view.

 

93) Transparent but Firm Ontological Innocence in a Girl. (Curly in hair...)

Curly in hair and naturally simple in smile, with a magenta-flower-supple mind,
Bust firm like a kitchen mashing stone, extremely slender at waist,
With solid shoulders and hips, thus Shiva's world to save,
She reigns supreme, a certain kindliness called magenta.

 

94) The Circulation between Essence and subtle Existence in the Physiological and Cosmological Body of the Goddess.

The dark zone of the moon is musk; the moon's orb is water;
The moon's phases they are camphor bits filling a box of ebony,
Which, when emptied daily by Your joys,
For Your sake, Brahma fills it again and again.

 

95) Disinterested Worship versus Worship for Benefits (Siddhis).

You being the consort of Shiva, it is difficult indeed
For unsettled minds to attain the equivalent of the way of Your worship;
Whatever limitless gains they, the divinities such as Indra and others might have had,
Those psychic powers such as Anima, from just outside Your door they got them.

 

96) The Ultimate Constancy of Parvati can know no Horizontal or Vertical.

The wife of Brahma, how many poets does she not woo?
How many are there not, who, by having some wealth, can claim Lakshmi's hand?
O constancy's ultimate meaning, outside Shiva
The contact with Your breasts is hard even to a favourite garden tree.

 

97) The Maya Vision is Superior to the Turiya Vision.

As the Goddess of the Word, Veda-knowers speak of You as Brahma's wife
Lakshmi is Vishnu's wedded one, and the Mountain Daughter is Shiva's consort;
Certain others as the unattainable and boundless fourth state refer to You;
While you remain as the great Maya, making the universe go round, as queen of the Ultimate Absolute.

 

98) The Final Surrender of the Vidyarthi (Wisdom-Seeker).

When, o Mother, tell me, shall this thy supplicant drink
Of the ablution water of Your magenta sap-smeared feet?
As causing even one dumb born to be a poet,
When will he enjoy within the flavour of the betel juice in the lotus mouth of the Word-Goddess?

 

99) Centralized Four-fold Normalization or Cancellation in the Absolute.

Sporting with Saraswati and with Lakshmi as co-consort with Brahma and Vishnu
While disrupting with his charming body the constancy of Rati to her lord,
With banished animality and bondage, living long,
He enjoys what is known as ultimate bliss, your supplicant.

 

100) All action is Abolished in Favour of Unitive Understanding.

To carry out the ritual propitiation of the sun by waving flames,
To offer oblations to the moon, the source of nectar, by particles of moonstone water,
To appease the deep with offerings of water its own,
Such, o Mother is this wordy praise with words Your own.

 

 

 

 

 

 

.
CONTENTS OF THE SAUNDARAYA LAHARI COMMENTARIES FILE
 

 


"The proper study of mankind is woman."

Nataraja Guru.

 

"Even Shiva is not as great as you when you understand. This is the highest water mark of spirituality; you can abolish Shiva and the Goddess. The fire of Shiva worships you and Her put together. You understand the Absolute and that is all; you become the Absolute. There is no birth, no duration of life, no death, these are only name and form. The Saundarya Lahari  says only that you are the Absolute. The fire of destruction of the world becomes the waving lights of worship for that man who can say of the Goddess, "I am You"."

 

Nataraja Guru

 

 

An editorial note on the structural diagrams accompanying these verses.
 
It will be noted that these diagrams are not consistently the same for any particular verse or subject. As Nataraja Guru often said on the subject of Structuralism, "You cannot pin it down; if you nail down the four corners, you get a chair or a table - it does not dance".
These structures represent dynamisms at the highest level of abstraction and generalisation. As with modern physics, there is always a certain principle of indeterminism involved. Interested readers are advised to consult the various commentaries on a particular verse as found in different texts and compare them; reaching their own conclusion. This is not dogma but methodology

 

The original Sanskrit text can be found at http://www.vignanam.org/veda/soundarya-lahari-devanagari.html

A transcription of the text into roman characters can be found at http://www.vignanam.org/veda/soundarya-lahari-english.html

An index of various versions and comments on the Saundarya Lahari can be found at index.php/content/247-saundarya-lahari-index

 

b) Introduction to the 1973 Commentary:

An introduction to the Saundarya Lahari, with an outline of the problems raised by its authorship and its place in Advaita Vedanta. The difficulties of interpretation can be resolved by an understanding of structuralism or protolanguage.
 
A series of short titles for the verses
Students' notes taken during the course of the Guru's years of study of the Saundarya Lahari, accompanied by numerous structural diagrams by the Guru. These notes also cover other related subjects: the plays and poems of Kalidasa and other Sanskrit authors, examples of structuralism from the western context, notes for a film treatment of the Saundarya Lahari, Western and Islamic mysticism, Bergson on Einstein, the Quran etc.
 
A finalized version of the English verse translation of the Saundarya Lahari by Nataraja Guru.
.
Commentaries on Shakuntala and other works by Kalidasa and other fragments related to the subject.
 
 
.
Various fragments of Kalidasa's work.

 

 
A translation of the 100 Verses, giving the slight variations in different copies of the finalized text
 
i) A Partial Commentary from 1969:
 
k) An Early Partial Commentary on the Saundarya Lahari  from 1970:
 
 
 
 
l) Commentaries and Structural Analyses of Various Texts on Erotic Mysticism, and others.:
 
 
 

 


COMMENTARIES ON OTHER TEXTS OF EROTIC MYSTICISM


While he was studying the Saundarya Lahari, Nataraja Guru also studied various other texts of erotic mysticism.

We present here a partial commentary on Kalidasa's "Shakuntala", together with other texts by Kalidasa and other authors.



KALIDASA'S SHAKUNTALA

Properly called Abhijñānaśākuntalam, (Abhijnana means: "Leading toward knowledge", that is, her "recognition" by Dusyanta). this play by Kalidasa tells the story of King Dushyanta who, while on a hunting trip, meets Shakuntalā, the adopted daughter of a sage, and marries her. A mishap befalls them when he is summoned back to court: Shakuntala, pregnant with their child, inadvertently offends a visiting sage and incurs a curse, by which Dushyanta will forget her completely until he sees the ring he has left with her. On her trip to Dushyanta's court in an advanced state of pregnancy, she loses the ring, and has to come away unrecognized. The ring is found by a fisherman who recognizes the royal seal and returns it to Dushyanta, who regains his memory of Shakuntala and sets out to find her. After more travails, they are finally reunited.

.

"Greek drama is based on the dialectics between honour and duty; Indian drama is based on the dialectics between eroticism and asceticism." Nataraja Guru

This commentary is based on the somewhat dubious and punditical translation of the Motilal Banarsidas edition from which the Guru worked.

An even more dubious translation is here provided for lack of anything better.

http://oll.libertyfund.org/index.php?option=com_staticxt&staticfile=show.php%3Ftitle=1261&layout=html#chapter_77399

The commentary is fragmentary and often repetitive,as it is drawn from several manuscripts, which have been left as they are, rather than risk losing important details by attempting to streamline them into a more lineal form. The Guru would often return several times to a passage and give slightly different interpretations each time. The reader will have to refer constantly to the text of the play to discover the passages referred to in the commentary; however, there is a lot to be learnt even from so partial a text, particularly from the structural methodology employed, together with the diagrams used to illustrate this.

Probably, the best way to grasp the commentary is to read the play first in its entirety, and then go through it with the commentary.



1

THE ASOKA TREE.


From roots to top, the Asoka has sprouts of a coral colour.
It is giving endless blossoms - when erotic mysticism is complete, there is a thrilling of the entire body.
Sadness overtakes a young girl in love, as a form of mysticism.

The Vikramurvasiyam of Kalidasa has the same situation: an Asoka tree waiting to flower requires the kick of a Princess.
There is a one-to-one correspondence between the élan vital of the tree and the queen.

Verse 85 of the Saundarya Lahari has a similar theme.
Kicking means to understand the one in terms of the other: she kicks it so that it can get married.
This is an equation between the Self and the Non-Self.
This kind of eroticism gives content to the notion of the Absolute.
The play is properly called Abhijnanashakuntala. Abhijnana means: "Leading toward knowledge", that is, her "recognition" by Dusyanta.


Kalidasa sets up the audience hypnotically before the beginning of the play.
For example, the charioteer's speech about the horses.

The lines hang loose; the steeds unreined
Dart forward with a will.
Their ears are pricked; their necks are strained;
Their plumes lie straight and still.
They leave the rising dust behind;
They seem to float upon the wind.


You are being transferred from the horizontal chariot to the soul of a horse.
The horses change horizontal space into vertical space.
Kalidasa wants you to do the same thing.


.

THE NANDI, OR BENEDICTION FROM SHAKUNTALA.

"That which is the first creation of the creator,
That which bears the offering made according to due rites,
That which is the offerer,
Those two which make time,
That which pervades all space,
having for its quality what is perceived by the ear,
That which is the womb of all seeds,
That by which all living beings breathe:
Endowed with these eight visible forms, may the supreme Lord protect you."

The benediction is a masterpiece of structuralism: a god with eight visible forms, both cosmology and psychology together.
1. The first creation is fire, the centre, as with Thales etc.
2. That which bears the fire (what is put into it as an offering) according to a certain order in the universe: some grains.
3. The Hotri, or sacrificant, who makes the offering.
4 and 5. "Those two who make time": the sun and moon, which are to be verticalized so as to rise and set in your consciousness as if presented to the five senses.
6. The visible world - i.e. attainable in a schematized form.
7. Whatever you call the horizontal world - the womb of all seeds.
8. That by which all things live - breath.

.

ALL THESE FALL INTO A VERTICAL AXIS.
ABSTRACT AND GENERALIZE AND YOU GET STRUCTURE, THAT IS, FORM.

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slc8-p27


The existing translation (Motilal Banarsidas edition) of the Nandi proves to be inadequate, the Guru will translate the work.


In the Nandi only one god is praised: Ishana.
A Puranic interpretation of the eight forms listed in the Nandi would be wrong,

Kalidasa must be read as a Vedantin.The Gita, Brahma Sutras, and Upanishads must be referred to in order to understand his poetry and plays.


Shabda Pramana
means that "the words" (e.g. The words of an authority or scripture. ED) are taken as being true.


Other Pramanas (sources of valid knowledge. ED) are:
1. Pratyaksha - what is given to the senses.
2. Anumana - inference (where there is smoke, there is fire).
3. Upamana - analogy between two examples.
4. Sastrimitva - all Shastras would be wrong if there were no Brahman.


This is Shabda Pramana.
These are four of the ten Pramanas commonly accepted in Vedanta.

2

In the Nandi, we find:


1. Fire
2. Ghee (clarified butter used as an offering)
3. The Brahmin sacrificer (these two are interchangeable: "ya cha hotri...")
4 and 5. Time as sun and moon. There is an alternating figure eight.
Time mounts the vertical axis, like S and S' (see Bergson in "The Science of the Absolute" on this website)
They must be verticalized.
6. Substance, attribute, sound, "that even which we speak of as Nature".
7, 8. Manifestation itself is the last mentioned, together with prana "breath", it goes at the top; it is a nature-principle which gives breathing to all things.


Thus, here are eight presences that you can approach as being the visible universal concrete: also with the eight-fold content or aspects.


"Let this universal principle be your saviour - let it save you".
"I worship you and I want to be saved by what you see".
The same elements are used in the play: Shakuntala, a pregnant woman, is the centre, the king forgets her; this is the tragedy.
If you are not tuned to the Absolute, not completely verticalized, you will forget your own wife as Dusyanta forgets Shakuntala, which is the greatest injustice.


Dushyanta is horizontally oriented - thus he forgets his wife.
Shakuntala is vertical.

 

3

ANOTHER PROVISIONAL TRANSLATION OF THE NANDI:

1. That creation which is the first of all created (things),
2. That which is the clarified butter.
3. That which is at the same time the sacrificer
4 and 5. Those two which make time
6. That ground in which inhere (stand established) quality, sound and substance
(i.e. the horizontal world), filling the whole universe (vyaya visvam)
7. That which is said to be the seed of all manifestation.
8. That which gives life to all living beings
May all of you be saved by the eight bodies (presences)
Let these, the eight manifestations of the Lord, attainable by what is given to the senses, save you.
(This is the Atman that is at the top of the vertical axis - the Omega point.

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slc8-p30

4

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slc8-p31


WHAT IS THE RELEVANCE OF THE NANDI TO THE PLAY ITSELF?
"The play is the thing" - what you see and what you feel must correspond, resulting in joy, a revealing of human nature with its echo in the soul, an equation between the Self and the Non-Self.
What you represent while being saved has one-to-one correspondence with the action of the play.

Fire is in the centre: tilt it to the Denominator and you will get Shakuntala.
The same structure will be evidenced.
There is a slight asymmetry of perspective as between the Self and the Non-Self.
The spectators are asked to put themselves in a certain mood. Tilt the camera from the positive side of the audience to the negative side of the unhappy Shakuntala.

5

THE INTRODUCTORY VERSES IN SHAKUNTALA ARE IN A FOUR-FOLD PATTERN.

The stage-manager says:

Why, sing about the pleasant summer which has just begun. For at this time of year
A mid-day plunge will temper heat;
The breeze is rich with forest flowers;
To slumber in the shade is sweet;
And charming are the twilight hours


Actress, sings:

The sirisa-blossoms fair,
With pollen laden,
Are plucked to deck her hair
By many a maiden,
But gently; flowers like these
Are kissed by eager bees.


He is describing the beginning of summer:
1. The days become delightful at evening.
2. To plunge in the water is so delightful.
3. The breeze is filled with perfume, blowing horizontally.
4. There is a boy sleeping in a deep shady place.


Kalidasa puts people in a proper mood by first singing to them, establishing a harmony between the people and the summer season in which the action is going to take place.
The actress sings: this gives a background for a tender, erotic context.
This is a delicate, contemplative tragedy.
Flowers kissed by bees are the most delicate.
This is the world of occasionalism.

The audience is immobilized, as in a picture: subject and object interpenetrate; interest is evenly balanced.

The wife tells the King the Denominator side.
The King is flying, so he is slightly absent-minded.
He is half-awake, to induce a similar state in the audience.
Then there is a gentle surprise - King Dusyanta is brought in and the Prologue ends.

Stage manager:

To tell the truth, madam,
Until the wise are satisfied,
I cannot feel that skill is shown;
The best-trained mind requires support,
And does not trust itself alone
.

The Stage Manager or Sutradhara says the words have to meet the acting: conceptualism meets perceptualism.
That twilight zone of consciousness between them is where the drama can flourish - not too vague, not too definite.

6

ACT I
The "Pinaka-Wielder",  in the Sanskrit text,  means Shiva. This brings to mind the archetypal hunter - this is to fulfil the same purpose of revealing Brahman.
This gives the drama its place in the Indian context.
First get the horizontal line clear.
The charioteer is in the centre and speaks.

Your Majesty,
I see you hunt the spotted deer
With shafts to end his race,
As though God Shiva should appear
In his immortal chase

Then the King speaks:

His neck in beauty bends
As backward looks he sends
At my pursuing car
That threatens death from far.
Fear shrinks to half the body small;
See how he fears the arrow’s fall!
The path he takes is strewed
With blades of grass half-chewed
From jaws wide with the stress
Of fevered weariness.
He leaps so often and so high,
He does not seem to run, but fly.


See! The horses are gaining on the deer.
As onward and onward the chariot flies,
The small flashes large to my dizzy eyes.
What is cleft in twain, seems to blur and mate;
What is crooked in nature, seems to be straight.
Things at my side in an instant appear
Distant, and things in the distance, near.


The King's speech indicates the horizontal vanishing point;
The King sees a jumping, zigzag line.
This is a philosophical reflection on the notion of horizontal existence.
Hunting was a necessity in the time of Shiva, at the origin of human life.
So, the hunter reveals a horizontal line.


The infinity of space and relative speed is indicated here.

There is a Fitzgerald Contraction, a telescoping; grass is falling half-eaten out of the deer's mouth.
It moves lightly; the horizontal line is mathematical.
It is bounding; this indicates the vertical and gives the zigzag line of Bergson.
It shows fear of the horizontal.
The first axis is delineated here.
The King's mind is horizontal; the deer's is vertical.
Beauty is the sinus curve of its neck.
The deer was grazing vertically until the King appeared.
The dropped grass is a schematic, dotted line of tragedy and sympathy.
"Level ground" - the King is impatient of the speed of the chariot and wants to establish reciprocity between horses and chariot in pure motion.


Once reciprocity is established in motion, then the vertical is marked by a description of the chariot and the vision of the King.
Space and time are put into the melting pot: this is a "monde affiné", as in Bergson.
"Objects...," means the speed is great. Non-dual means vertical.
Bent becomes straight.
"So great the speed...": reciprocity abolishes all perspective.
He acts fixing an arrow, only fixing the arrow, not shooting.


Then from behind the scenes comes a voice saying that the deer must not be killed, it belongs to the hermitage.


A voice, offstage:

O King, this deer belongs to the hermitage, and must not be killed.

 

Charioteer:

Your Majesty, here are two hermits, come to save the deer at the moment when your arrow was about to fall.

 

King:


Stop the chariot.

 

Charioteer:


Yes, your Majesty. (He does so. Enter a hermit with his pupil.)

 

Hermit:


O King, this deer belongs to the hermitage.

Why should his tender form expire,
As blossoms perish in the fire?
How could that gentle life endure
The deadly arrow, sharp and sure?

Restore your arrow to the quiver;
To you were weapons lent
The broken-hearted to deliver,
Not strike the innocent.

 

King:

It is done. (He does so.)

 

Hermit:

A deed worthy of you, scion of Puru’s race, and shining example of kings. May you beget a son to rule earth and heaven.

 

King:

I am thankful for a Brahman’s blessing.

 

The two hermits:

O King, we are on our way to gather firewood. Here, along the bank of the Malini, you may see the hermitage of Father Kanva, over which Shakuntala presides, so to speak, as guardian deity. Unless other deities prevent, pray enter here and receive a welcome. Besides,
Beholding pious hermit-rites
Preserved from fearful harm,
Perceive the profit of the scars
On your protecting arm.

 

King:

Is the hermit father there?

 

The two hermits:

No, he has left his daughter to welcome guests, and has just gone to Somatirtha, to avert an evil fate that threatens her.

 

King:

Well, I will see her. She shall feel my devotion, and report it to the sage.


"Killing" is the last word that suggests horizontality: now, the drama is about to begin as a contest between the horizontal and the vertical.
The vertical must not be forgotten.

A voice says: "the deer must not be slain"
The Brahmachari (Ashram disciple) is an agent of the Guru.

The Ashram is an island of neutrality, it is vertical, and there is no killing there.
This is treated with much respect, even by a king, who complies and puts away his bow.
This is an epoch-making statement: a Brahmachari (Ashram disciple) is greater than a king.

The hermits are a point of insertion of the vertical.

The hermit's speech: "...perish as blossoms perish in the fire..".
Agni (fire) is brought in. A sacrifice may be necessary in the outside world, but not according to the vertical ahimsa (non-hurting) of the Ashram. Throwing flowers is a part of many rituals.

"Burning" is for the verticalisation of the horizontal.
"Puru": this is the archetypal pattern for all city-kings; weapons should be for decreasing, not inflicting, suffering.


He wishes:" May thou have a son", the King says, " It is accepted " and bows.
Somatirtha (the ashram) is a place on the vertical line, which intersects with the horizontal.
Kanva has gone there to rectify something about the birth of Shakuntala.
She is the daughter of Menaka, fathered by a forest Rishi; she could not be taken to heaven and so went to Kanva's ashram.
Kanva goes to determine Shakuntala's fate, but her fate is decided at Kanva's Ashram itself.
Kanva knows there is an evil fate in store for her, and has gone to Somatirtha, which is more vertical, to alleviate it, but there are certain things which are in the hands of providence.
The King's devotion - he is also innocent. (? ED)
The King's speech on entering the Ashram: there are two descriptions: one is Jaina, or pre-Vedic, and the other Vedic, he wants to put them together.

King.

Charioteer, drive on. A sight of the pious hermitage will purify us.

Charioteer.

Yes, your Majesty. (He counterfeits motion again.)

King(looking about).

One would know, without being told, that this is the precinct of a pious grove.

Charioteer.

How so?

King.

Do you not see? Why, here

Are rice-grains, dropped from bills of parrot chicks

Beneath the trees; and pounding-stones where sticks

A little almond-oil; and trustful deer

That do not run away as we draw near;

And river-paths that are besprinkled yet

From trickling hermit-garments, clean and wet.

Besides,

The roots of trees are washed by many a stream

That breezes ruffle; and the flowers’ red gleam

Is dimmed by pious smoke; and fearless fawns

Move softly on the close-cropped forest lawns.

Charioteer.

It is all true.

King(after a little).

We must not disturb the hermitage. Stop here while I dismount.

Charioteer.

I am holding the reins. Dismount, your Majesty.

King(dismounts and looks at himself).

One should wear modest garments on entering a hermitage. Take these jewels and the bow. (He gives them to the charioteer.) Before I return from my visit to the hermits, have the horses’ backs wet down.

Charioteer.

Yes, your Majesty. (Exit.)

King(walking and looking about).

The hermitage! Well, I will enter. (As he does so, he feels a throbbing in his arm.)

A tranquil spot! Why should I thrill?

Love cannot enter there—

Yet to inevitable things

Doors open everywhere.

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DESCRIPTION OF THE ASHRAM:
1. Some cereal grains, placed by parrots in the holes of trees, are overflowing: there is abundance and peace - the Jainas will never hunt or disturb living beings.
(See the Gymnosophists described by the Greek historian, Herodotus, in his account of Alexander the Great).
2. Ingudi is a nut crushed on stones for oil for lamps. This is a self-sufficient economic system, it is simple.
3. The deer in an Ashram know no fear and are full of confidence. The animals are protected absolutely.
4. There are lines from the washing of the clothes of the Sannyasins that mark the water level. This is inferential as are the signs described in 1 and 2; only 1 is visible.

7

There are three kinds of inference here; he may be showing the Pramanas.
The above belongs to the Jaina context, what follows belongs to the Vedic context.
Kalidasa inserts himself into these two, before presenting Vedanta.


The King must protect the Rishi performing the fire sacrifice in the forest.
The second description is closer to the altar, since the grass is cut away, this is more of a cultivated garden.
These two descriptions form a pedestal of two concentric circles on which to place the fire of the sacrificer. Then the vertical axis can be built from there to the voice from heaven, which will be heard by the Hotri, or sacrificer.
The clipped Dharba grass means that it has been put into the fire by the Brahmin.

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II

1. Sprouts of grass indicate the horizontal axis.
2. Leaves made vague indicate the Vedic world of ghee (clarified butter used as a sacrificial offering) and the Hotri, or sacrificer.
3. "Roots bathed..." indicates the denominator side, the Alpha point source, the elementals.
4. Young fawns....

The river is horizontal.
Ripples; fire-bather-Brahmin (? ED).
The root is the source of the vertical axis.
This is a gentle attempt to verticalize the scene.

The King descends; he is going to meet Shakuntala.
He is leaving one level and going one step down; he leaves the horses there.

The King enters - the doors of possibility can open anywhere in this world.
You do not have to wait for possibilities that do not present themselves: what happens to you is in the scheme of the best of possible worlds.


The King's arm throbs: this is traditionally a signal of disaster: the right arm for women and the left arm for men. Unhappiness is going to start now. There is a jolt in the machinery - a delicate cybernetic balance is disturbed.


The damsels with pets - there is a dialectical relationship between the young girls and their pets, there is an equation between them, they sit like a baby in their lap.
...contains sinus curves. It is like the breasts of a woman, each is different.
The beauty is in the reciprocity.

The two girls.
Anasuya (lit. "without jealousy"): Kanva loves plants more than does Shakuntala: they represent the negative side of the vertical axis.

Priyamvada (lit. "praising, agreeable")


"The affection of a sister" - there is a unity of life, even plants, all is the Absolute.

8

Reciprocity is established here between Shakuntala and the flower.
Note that Vedanta never postulates something that you cannot see.
She cares for the plants through, by, for and in herself: this Atman is the same as that:

Advaita comes alive.

Do not talk metaphysics without its lived counterpart.

The sami cut by a lotus leaf - The King says Kanva should not discipline Shakuntala, who has all her tenderness expressed as a flower.
Ascetic discipline is not for a young girl who is like a lotus leaf.
The diamond (tapas or renunciation) is at the Omega point.
Dusyanta can see this from the horizontal.


Shakuntala's bark garment - this is a study in contrast, he purposely plays on the bark garment and the growing breasts of a young girl.
The joking between the girls is only meant to set off the sublimity of the King's poem.
"The beauty of women shines the more by contrast".
The one sets off the other, like the spot on the moon.
The two opposites cancel.
She shines by double negation - the bark garment,
and by double assertion - her own beauty.
She does violence to her own nature and becomes more beautiful; she accepts the renunciation of Shiva - she wears the simple bark cloth of the Ashram disciples, rather than luxurious silk.

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slc8-p37


What is it that could not serve as an ornament?
The paradox is transcended by her beauty.

The Kesara tree and the creeper: the moving leaves seem to beckon to her.

Priyamvada sees the same beauty as the King; it is absolute beauty; both agree.

"Dusyanta is calling you" that is the dvanyarta (saying one thing in terms of another).
The creeper hangs on the tree for support while putting out flowers.
This is also schematic.

The bark garment - why is it tied with delicate knots?
"Both spoiling the beauty, as also acting as an ornament".
This means that the dress is embellished from the Numerator and detracted from by the Denominator.
Beauty is brought out by contrast, as in the case of the spots on the moon or a lotus next to moss.
A leaf can cover a flower in its tender state; it can also be an ornament to its beauty. Both are presented here.
The King purposely leaves the paradox here.
The delicate knots are supporting the breasts from the numerator side, from the shoulders.

9

To appreciate the beauty of Shakuntala, approach her from the austere side, her youth comes from below, there is a tragedy when youth and austerity meet.

Shakuntala is like a mango sprouting young leaves, or a creeper putting forth flowers.

There is a dialectical relationship between them; the marriage of plants at the proper season, a gentle conspiracy of nature.
One must be attuned in order to appreciate these factors.
There is a pre-established harmony (cf. Leibniz) between the mango and the creeper.

Nature is full of occasionalism, especially in the spring.

What is her caste? - his conscience is his own Pramana, his heart will only be attracted by a certain type of woman.
She must be, among other things, fully horizontal and vital.
The King belongs to the horizontal context, so the wife cannot be like a peasant, below the line on the negative side.
How can a vertical girl meet the horizontal king?
He is puzzled by the one-one correspondence in the Ashram.

The King's speech about the bee - dvanyarta (see above)
- the King is describing his own intentions through the reality of the bee.
The bee is flying between the ears and eyes and the lower lip.
This is the square root of minus-one: the beauty of a woman is to be found on the negative side.


The bee is a universal principle of honey seeking; the buzzing noise is meant for nature to hear that it is seeking something.
It is touching the throbbing eye - the eyes are like the Sapharika fish: the seat of gossip is between the eyes and the ears - between what you see and what you hear. The lover will be doing the same thing, kissing the eyes and the ears and whispering - just like the bees: put them together and you will get a mystical world which can take in the Absolute with all its implications.
If the bee appreciates her face, then it is Absolute Beauty.


The King is alluded to - the whole of nature conspires.
Shakuntala feels emotions not fit for an Ashram, she knows they are horizontal.
The King says that he is on duty.

10

There is a sparkling light - trembling beauty comes from the hypostatic side; it cannot come from the "surface of the earth".
This relates to Shakuntala being born of a heavenly nymph.
Shakuntala's beauty is not only sprung from nature, but descends as well from the Numerator: real beauty comes from the two sides - there is a glow that is not from chemistry, but it is faster than the velocity of light.

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slc8-p39a

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slc8-p39b

Movement begins to build up vertically.
The chariot and the charioteer cancel into Zeno's Paradox.
Vertical values begin to prevail, the ascent begins. The dotted circle is magic, inside it there is no fear.
The second pedestal is created by bringing in the horses; actual speed is transformed into psychological speed.
There are three deer: afraid; not afraid; not sacrificed,

There are two pedestals:
1. Jaina - referring to space
2. Vedic - referring to time
This refers to history, not geography: one is in the mind and the other is outside it.

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slc8-p39c

To bring in the reciprocity of movement, you bring in the horses, who are afraid of the speed of the chariot: not just A > B, but A B
Then it becomes vertical.
Now two O Points have been created as two pedestals.

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slc8-p39d

The ripples on the river are the hairs upon the mother's skin - she descends from above to feed the baby: this is a Vedic heaven, which nourishes the child.
The river surface glistens from the sun above, not from below.


The O Point here is the navel of the mother.
The Sun God shines on the river, the nourishment is sucked up by the tree.
There is a fire at the O Point, a fire of hunger or of sacrifice.
So there are two pedestals: one proto-Aryan and one Vedic.

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slc8-p39e

This is the structure of the first description for comparison
Anyway; the two pedestals are constructed.
Bhur-, Bhuvar- and Svar-lokas (the three worlds of earth, heaven and in between) correspond to:

1. Cognition
2. Dusyanta's forgetfulness, the breaking of the continuity
3. Re-cognition.

The second pedestal also contains fawns - for kindness is also there.
The smoke rising makes it into a "Monde affiné" - a refined version of the world - see Bergson..
Contemplation requires subjectivity.


Glistening is most important: the skin of a woman is where nourishment comes from; the glands that produce hair are closely related to those which produce the mother's milk; the hair on a mother's stomach is holy: it comes from above.
"The soul of a child is its rosy behind".


The Vedic world is brought in for need of a voice from heaven for his cosmology and for the telling of the story.
The deer are innocent: note their willingness to believe... this is not Jaina.


"Tremulous beams" - their origin is in the sun and the moon, not the earth, so he recognises the hypostatic side: Saraswati.
See V75 in the Saundarya Lahari of Sankara.


The hermits may be questioned: they have no reserve, no cheques to cash.
No conventional barriers; "contemplatives are not bothered by conventions".


"Having eyes like her own": female deer and Shakuntala.
The bright eyes are very vertical. A husband is not needed.
This is the Absolute from the negative side. It is vitalistic.


Is she going to continue vertically, or is she going to spread out to the horizontal?


That is: will she continue as a disciple in the Ashram, or will she leave to get married and produce children?

She is dependent on another; she will not make her own decision.
If the horizontal had not interfered, she could have continued vertically like the deer, as a Brahmacharini (ashram student), this is the implication.


Priyamvada says that Shakuntala is meant for marriage; thus the King is not violating Shakuntala's svadharma (destiny).


The vertical line of light is to be broken.
The King asks: " Is she going to live the rest of her life like the female deer, with half-drunk eyes?"
She has certain traits, which show she wants a husband badly.


The King wants to say that Shakuntala is perfect both vertically and horizontally; thus the event has to take place exactly at the O Point.
It is possible for her to pass through the horizontal without incident, but Kanva intends her for a normal marriage.
This means that the two axes, vertical and horizontal, must combine and merge properly.
Do not say that one is good and the other bad.
Take what the King says, what Priyamvada says and what Kalidasa says and put them all together in the scheme of the Nandi: get salvation.
A woman has to be dependent on her father's wish:
this is the saddest of truths. She has to be dependent.
Why is a father's soul so concerned about his daughter's chastity?

11

If you neglect the father's wishes there will be disaster.
The fire and the gem: the King thought that Shakuntala was a fire which could not be touched; but instead she was a gem.


Poetic justice requires that the King be correct; his duty is now clear to him; it is almost a categorical imperative that he make love to her.
But he will forget, as the first dimension causes the fourth dimension to be lost.
Neither of them is a yogi:
the King is non-innocent and horizontal,
Shakuntala is innocent and vertical.


Life is a paradox, understand that and it dissolves itself in the liquid of unitive understanding.
The obstructions seemed to have been removed from the King's social conscience. Kalidasa seems to be approving.
Gautami is the mother superior of the convent; it has to have supervision.
The first-dimensional touch of anger is to be there: there is no idealism in Vedanta: it is apodictic and realistic.


Bodily movements, etc. - there is little difference between intentional movement and actual movement:
"as if he had gone and come back again".


This is a situation where intentionality dominates: he thinks of going, then changes his mind.
Actual going and coming has the same status as mental going and coming.


Shakuntala is spoken of as a "hermit's daughter" in order to bring in the fourth dimension, making her a universal concrete.
So, the intentional and the actual have the same status in phenomenological epistemology.
The girls are all interested in Shakuntala's love.
The Absolute is participated in by everybody.
There is some Absolutist interest.


Priyamvada turns her back; she does not want to leave.
A beautiful pose - we will deal with this later.


The King's ring - She must be tired from carrying water, the King will pay the debt with his signet ring.
Description: both her hands are red from lifting the two pots
There are two trees to be watered, her hands droop, her breasts heave, etc.
Thus is dvanyarta again (saying one thing in terms of another), the O point in a woman's life has been touched: the whole of nature conspires to unite her with Dusyanta.


Instead of watering the plants for her, he gives her the ring - this needs more attention.
The debt of Shakuntala is "paid": the whole thing is conceptual and nominalistic.
Shakuntala says: "I do not belong to that world - settle your disputes
- I am on the Denominator side, and that is another order of existence.

12

12

The alarm is sounded - the harsh, horizontal world intervenes.
The elephant is Ganesha, who must be propitiated if the forest is to be peaceful: space and wind can create trouble: the elements in turmoil are Ganesha.
Shakuntala is held back: nature conspires to have its own way.
Does it really conspire? Nature can laugh at you.
Nature can both protest and conspire.
At a given moment in a woman's life it becomes absolutely necessary for her to have a child.
When nature conspires against a man, he should know how to propitiate the elephant god.

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THE END OF ACT I

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slc8-p63a.


The power of the King is bright and is derived from the Numerator side.
Shakuntala gets caught in a tree, while the others fall faster.
She says: "I am an ontological reality, why do you (illegible: "plore"? ED) for me?"


The King derives his power from the sun and moon.


"Holding hair": she is trying to keep a connection with the Numerator side by pretending to be held back.
She is naturally falling down, but the tree is holding her.


The two plants to be watered mean two children.
Water is at the Alpha point.
Perspiration is cancelling the Sirisa flower.
She is panting, in a completely negative state.
Her red hands mean that she is completely healthy - it is not due to bad health.


You have to worship the elephant to calm the situation.
The horizontal zone is forgetfulness. Memory is vertical.
The whole mistake was caused by the King coming to the Ashram.
The King kills deer, why come to the ashram?
Shakuntala is like a deer.


The drooping Sirisa flower means unhappiness - a negative suffering.
If the Devi's eyebrows vibrated, Shakuntala would be lifted up.

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