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

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


PAGES 1-23

P1- Malavikagnimitra

P6- Saundarya Lahari V62

P6- Malavikagnimitra

P20- Saundarya Lahari V13

P20- Malavikagnimitra

SLP4 - P1


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

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

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

SLP4 - P2

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

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




SLP - P3

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



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

SLP4 -P4

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



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

SLP4 - P5

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



SLP4 - P6

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

SLP4 - P7

Malavika is low caste.



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

SLP4 - P8

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

Reply to a political letter.

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

SLP4 - P9

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



SLP4 - P10


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

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

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

SLP4 - P11

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

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

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

SLP4 - P12

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

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

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



The Queen has the casting vote.

SLP4 - P13

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


SLP4 - P14

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




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



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

SLP4 - P15

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



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

SLP4 - P16



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

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

SLP4 - P17




The four lines she recites are structural.

SLP4 - P18

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


Attribute and substance are united in her departure

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

SLP4 - P19

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

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



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

SLP4 - P20



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





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

SLP4 - P21

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


SLP4 - P22

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

SLP4 - P23

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

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

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

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