SLC1: Curran de Bruler´s notes, dated 30/5/71, Ooty.


P1- List of verses 1-100, with short titles

P5- Film Generalities, with verses 32-36,

P7- Verses 6-10, Verse 1

P9- Film generalities

P15- Verse 80, Film generalities

P18- Verse 12

P20- Main doctrines

P21- Verses 42-50

P23- Verses 10, 14, 15-41

P46- Verses 50-100




1) Paradox Posed as between the Field and the Knower of the Field at the core of the Absolute.
2) "Monde Affiné" - Three Agents.
3) Four-fold Value-affiliations as Among Human Beings: Quaternian Structure.
4) Primacy of Cause over Effect: Satkaranavada.
5) Reflected Glory onto Vishnu and Mohini.
6) Occasionalism Gives Power to Eros. (Springtime, Flower-arrows, etc. )
7) Four-fold Structures Superposed. (Kvanat Kanchi…)
8) Yogi's Vision of Beauty, Completely Seen. (Gem island mid-nectar ocean placed.)
9) Sadhadharas -Series of Vertical Values. (The Chakras )
10) Verticalized Series Ranging both Ways. (Kundalini, 3 ½ Coils.)


11) Sri Chakra Presented as a Conical Section View with 43 Elements of Refuge.
12) Existence Superior to Essence. (Innocent Young Maidens.)
13) Ambivalent Compensation Between Numerator Ugliness and Denominator Beauty. (Sub Specie Aeternitatis.)
14) Vertical Conic Section Numerologically Analysed.
15) Worlds of the two Dictionaries Cancelling into a Common Value.
16) Magenta Glory by Cancellation in the Minds of Poets.
17) Semantic Blending of Vertical with Horizontal Word-bearing Elements.
18) Cancellable Counterparts. (How Many, How Many Others?)
19) Revalued Partial Samayin Cult. (Atilaghu.)
20) Centralisation of Tendencies to Gain Two Kinds of Psychic Powers.


21) Thin Parameter Revealed. ( Devi's Lightning-Streaked Body )
22) Revisable Equation. (Bhavani Tvam.) No Unilateral Worship.
23) All but Omega Point Absorbed Stage by Stage by Magenta Cloud. (Crescent and Magenta Are Made Equally Thin and Cancelled.)
24) Transcendence Within Brackets.
25) Absolutist Worship Transcends both Ontological and Teleological values. (Puja puja.)
26) Quintuple Functions Abolished. Five-foldedness of Phenomenal Functioning Absorbed by Vertical Axis. ("He Does Sport Alone")
27) Homogeneity of Physical and Metaphysical Worship when Treated as Ensembles.
28) Shiva Survives by Pure Verticality Between Two Limits. (Poison and Marital String.)
29) Eternal Present Movement in the World of Intentionality, Dignity of the Devi and Shiva.
30) Self and Non-Self Reciprocity in Attaining Psychic Powers: the Worshipper is Worshipped as a Result.


31) 64 Know-how Factors and their Negative Counterparts.
32) 3 Sets of Monomarks for Distinguishing 4 Limbs as Pertaining to the Heart.
33) Dynamics of Hedonistic Ritual. (Mahabhoga.)
34) Reciprocity of Bodies. Shiva and Shakti Participate; Sun and Moon as Breasts.)
35) Descending Series of Manifest Values, Representing Chakras.
36) Ajna Chakra Described. (The Tendency or Reference is Upwards.)
37) Visuddhi Chakra. (Belongs to the Devi as Above, She is There with Shiva.)
38) Anahata Chakra. Restful Middle Chakra with Two Swans.
39) Swadhisthana Chakra. The Cooling Touch of Samaya.)
40) Manipura Chakra. A Cloud which Rains on the Burning Worlds.
41) Muladhara Chakra. They Confer on the World the Status of Being Parented.

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


41) Muladhara.( See above.)
42) 12 Suns Fused and Verticalized into Twilight, The Devi's Crown as 12 Suns.
43) Ontological Richness as against Teleological Indigence - Even at the Hypostatic Level.
44) Vertical Parameter Produced Upwards, Invasion of Rival Horizontal Forces.(The Devi's Hairline.)
45) Central and Peripheral Ambivalence: Conical Cross-section. The Devi's Face with the Mouth as Bindu or Central locus.
46) Absolute Beauty as Enclosed within Crescent Moon Brackets. One crescent is the Mind, the Other is Matter, and they Participate.
47) Tragic Contradiction between the Bow of Devi and the Bow of Eros at Right-angles.
48) 90 Degree Tilt; Vertical Twilight Derived from Horizontal Sun and Moon.
49) Each of Eight Famous Cities has a Personality Derived from a Value Factor.
50) Jealousy between Vertical and Horizontal Value Factors. (Magenta has a Vertical and Horizontal Participation.)


51) Seven Moods or Attitudes. Karuna or Kindness towards the Devotee.)
52) Kataksha, Side-glance. (of Jealousy for Shiva.)
53) Three Gunas like Folded Japanese Fan. Through a Burst of Passion, Because the Devi is in Love, the Three Gunas are Absorbed Wholly into the Horizontal.
54) The Same is Vertically Folded .Bathing at the Triple Confluence of Rivers is Purifying.)
55) Neutral Balance between the Phenomenal and Noumenal Aspects of Creation. (Her Eyes are Half-open.)
56) Participation of Eye and Ear Interests. ( like Sapharika Fish.)
57) Lengthened Side-glance. ( Better than a Frontal Glance, Moonbeams. The story of Pancha Nalli can be used here.)
58) Ear and Eye Bow Limits, with Eros' Arrow aimed at right-angles.
59) Vertical and Horizontal Chariots Confronting Each Other. (Four-wheeled and One-wheeled Chariots.)
60) Interaction between Perceptual and Conceptual Values. (the Devi's Telephone Call.)


61) Levels of Inner and Outer Plenitude.
62) Figure-8 Dance in Search for Parity between Redness of Lips and Teeth.
63) Participation in Terms of the Enjoyment of Moonlight. (Sweet and Sour Alternate.)
64) Adhyasa: Participation at the Tongue-tip. (the Tongue-tip and a Crystal Image Participate with each other.)
65) Polyvalent Participation, with Reservation by Skhanda.
66) Line of Separation.(Her Vina Covered with Cloth.)
67) Father's Touch on Her Chin is Static, Her Husband's is a Dynamic Figure-8.
68) Contrast Puts Absolute Beauty into Relief.
69) Three Subtle Vertical Levels of Music.
70) Fourfold and One-to-one Correspondence at Two Levels.


71) Bracketing within upper and Lower Limits. (The Vedantic Contribution.)
72) Mutual Adhyasa ( Mutual Error between Mother and Child; Hallucination both Ways.)
74) Descending Parameter from Pearl to Ruby to Black.
75) Milk of Wisdom Equated to Words of Wisdom.( Dravida Shishyu.)
76) Parameter Continued below the O Point. (Eros Dives into a Navel-lake.)
77) Pure Structuralized Space Reduced to Ethereal Shreds.
78) O Point with Four-fold Polyvalence.(Aspects of the Devi's Navel.)
79) Precarious Vacuity at the O Point. ("Let There be Security Forever")
80) Reciprocity Between Horizontal and Vertical Tendencies in Life. (Eros Saving the Tragedy of Double Negation.)


81) Figure 8 Circulation between Existence and Subsistence. (Ponderability and Expansiveness.)
82) Knee Callosities and Frontal Lobes of Elephants Compared and Cancelled.
83) Universal Concrete Gets Primacy with Arrowheads Simulating Toe-nails.
84) Cancellability of Vertical Limits: the Bottom Limit of the Vertical Axis Becomes the Top of the Next Vertical.
85) Mystical Thrill at Different Levels of the Vertical Axis, Extending to Lower than Human Levels.
86) Ontology Meets Teleology Rather Abruptly; Shiva is Indifferent to Nominalism.
87) Four-fold Circulation of Values Between Two Pairs of Lotus Feet.
88) A Pun on the Conceptual and Perceptual Import of Value. (Shiva Lifts Devi's Foot.)
89) Hypostatic and Hierophantic Values Reviewed Together under the Aegis of the Absolute. (Chandi, the tragic one.)
90) Vertical and Concentric Absorption in the World of Absolute Value. (Let my Life Go…)


91) Ontological Limit Structurally Understood and Revised Conceptually.
92) Downwards Normalisation of the Devas from the Omega Point. (Shiva's Canopy.)
93) Transparent but Firm Ontological Innocence in a Girl. (Curly in Hair.)
(There is a gap here at bottom of page - no verses 94-100 )

SLC1 - P5


Saundarya Lahari: Source C1 - Curran's notes dated 3 April 71, Ooty
Contents: 32 to 41 reviewed, Generalities : "The struggle to begin",
Doctrines of Verses 1 to 10 and more struggles,
running commentary 42 to 100,
verses described in One World, 1 to 60.


The Kaulins (relativistic Tantris) are to be given credit as far as they go.
The whole of Beauty is contained in the totality of "Your component limbs".
To keep them all in mind, the factors are given letters as monomarks, then placed in Mantras corresponding to figure-8s - this is Sankara's revaluation. This is the Dravidian approach.






Here is described the Vedic method, as opposed to the Dravidian one of the previous verse.
Here again there is a cancellation with the two sides held together in the source at the centre.
Put the three words in your charm, "O lone and eternal one.."



Again, there is a revaluation by Sankara: "Maha Bhogya" ("Great Enjoyment" ) is given an absolutist status, plus the cancellation.
Attaining to pure Vedanta is like having the philosophers' stone.
The Brahmin keeps on praising the Devi with Numerator mantras and pouring Denominator ghee to get benefits from her.
"Mahabhogya"-the greatest delight is copulation.
Thus there is participation between Numerator and Denominator at the O point.
They are continually praising and ever sacrificing, meaning that they are sub specie aeternitatis, or under the aegis of the Absolute.
Sankara is telling us how to make the Vedic ensemble acceptable:
"Try to include all and exclude none".
The Gita tradition accepts worship in all forms.
Note the overlapping levels of abstraction and generalisation:



"You are the body of Shiva…", "…new and sinless self", "…sun and moon as twin breasts": with this verse, Sankara is adding a Numerator to the relativistic eroticism of the Kaulins, thus there is a new body with breasts, descending from the Numerator side.
Sankara wants to cancel the lower eroticism with a higher one.
He has first proven in Verses 32 and 33 that he knows the secrets.
Between matter and mind there is a neutral Truth.
In this sequence, the previous positions have been given, now comes Sankara's revaluation.


Here we have descending dialectics: the Devi will not live in a cave like Shiva,
but has her reference on the negative side.
She assumes a universal body, presenting herself to her husband.
This is in contra-distinction to shaven-headed Jaina nuns, etc..
"You yourself wanted to become the bride, so that Shiva could love you":
all of life is a love affair.


"Shiva Ultimate.." is placed in the "Willing Centre", between the eyebrows of the Devi.
( Like a magenta spot of kumkum placed between the eyebrows, this indicates that Shiva is sitting there meditating.)


The psyche has a positive side, which is the realm of the intelligibles,
"…shining with the brilliance of millions of suns and moons".
The sun and moon are bracketed here as celestial luminaries, presiding over day and night.
"Beyond the reach of sun, moon and fire": fire can be escaped in two ways;
down into the water, or up beyond the sun and moon.
Beyond the world of necessity, there is the world of the intelligibles,
while the Devi wants to live downstairs, teaching dancing and singing to the children;

She is happy in the basement.
There are two worlds of light, one is of ordinary light,
the other of double negation.
The Devi lives below in the light of double negation,
Shiva in the "world of the intelligibles beyond", in the world of normal light.

SLC1 - P7

( fragment beginning with Verse 6)

In VERSE 6 half of the Devi's body is filled with eroticism; eroticism is normal bliss.
You cannot throw eroticism out of the picture as Christianity does.
The Absolutist picture gives Eros a place in the Devi's legs.

In VERSE 7, the Devi as "Purushika": do not try and copulate forcefully with Her: the Absolute cannot be defeated.

In VERSE 8, the Yogi has to meditate on something: a gem-island.

In VERSE 9, stable positions of cancellation ascend on a vertical axis.

In VERSE 10, there are two "trees of Porphyry"- one spreading upwards, the other downwards.


SLC1 - P7

Double negation is shining like a polished door; "prize me no prizes, for my prize is death "
Milton's "dark-splendid": there is no real poet who does not know this double negation.
In the case of the Abhisarika woman, (in Kalidasa's Ritusamhara) the lightning does two things: it lights her path and it helps her to appreciate the vertical aspect of her passion.
She is the Self, which has two references.


The Abhisarika woman in Kalidasa - horizontally, she breaks the pearl necklace and the pearls drop one by one onto the ground.
She wants go both horizontally and vertically: the fire to copulate has another reference, vertically placed, it is represented by sunlight.
Vertical and horizontal aspects of her passion participate and reveal the Absolute.
When you can appreciate this, you are a mystic.


She says: "It may be the Himalayas, it may be midnight, but I am going anyway because I badly want a child". Passion is what is found in her heart and sunlight reveals the vertical aspect of the same.
Kandukavati, Nataraja, thunder and lightning, the Abhisarika woman; they can be telescoped together into a paradigmatic cliché to be repeated over and over again after the basic portions of the cassettes.
Introduce some well-thought-out representative clichés or ideograms:
put three circles around them and treat them as chakras.

There is a common subject matter to verses 1 and 2: the phenomenal and the noumenal and the cancellation of the three functions of creation, preservation and destruction.

In the "Darsana Mala" by Narayana Guru there is cancellation into absolute value
In his "Atmopadesa Satakam" the pure Absolute is at the Omega point.

In Verses 3 and 4: Ontology is contrasted with a teleological approach - there is a normative centre.

Atmopadesa Satakam deals with Triputi (the" tri-basic prejudice" of seer, sight and seen),
The Darsana Mala: with bipolarity

Although the methodology for all Vedanta is roughly the same, we can find a doctrine appearing in different places: it can come at the beginning or the end.
Narayana Guru fixes the Omega Point in the first verse of the Atmopadesa Satakam.

Thus, the Guru from this point on gives up trying to treat all three works together,
he will work only on the S-Lahari verses.

VERSE 1 all of life is a love affair.

Absolute Beauty is the result of cancellation.
Creation, which exists, subsists and has value, is beauty.
You meditate on the Devi and establish a bi-polar relationship with the Absolute.
A yogi can meditate on a certain abstract principle of Absolute Beauty, leading to an understanding without logic- through the emotions and intuition- something you can experience: then you will establish a relation between the Non-Self and the Self which will cancel out into a joy forever.


The Guru is still baffled about how to treat the verses, but has the idea of a stereotyped picture to be repeated throughout the film; the Devi's form with chakras, Kandukavati ascending and Nataraja descending, with a yogi meditating at the Alpha Point : this seems like a permanent advance.
Education and entertainment are to be kept separate; begin by taping the educational portion in black and white.

The following verses are to be treated singly, showing normalisation after cancellation:
7: "Kvanat…"
11: Sri Chakra
18: "Tanuchaya…" (magenta patches)
22: "Bhavani Tvam…"
29: "Remove Brahma's crown…"
36-41: The chakras in descending order treated as one.

18 April.
Some progress has been made:

1)We must telescope the whole thing together for purposes of a synaesthetic, videotronic holographic, stroboscopic (etc.) cinema of light and colour with the appropriate soundtrack.
Not understandable, no explanations.

2)Then Video cassettes will be made as linear cinema in the form of lessons to be viewed at home to explain what was seen in the colour film: a full close-up explanation.

19 April.
From VERSE 42 on, the methodology changes to descending dialectics.
The periodic table descends from hydrogen to the heavy metals.
You can find God in the sky, in the luminaries on the positive side and also in the mother's milk on the negative side.
Carbon 6 is found in the middle - it is capable of joining with others to form the horizontal dimension, all living beings need carbon 6.
In the first of this series, 12 suns are fused into the ruby of the Devi's crown: this indicates the vertical dimension implied in twilight.
(12 suns can include 12 moons as well.)



Do not begin the film in the Himalayas with a silly Shiva, but start with a real island from the negative side.
Start with the Real on the negative side, not with the dry-as-dust Numerator.

1) Tripura Sundari is the Absolute Goddess who throws away her jewels and wears Shiva's matted hair for decoration. Thus she recognises the necessity of the crescent-moon principle; without it her behind will scatter to the four corners.
She is unhappy without a husband to balance her, to keep her personality from evaporating.

2) The Shiva principle gives "togetherness" - a correlating principle.
This is the crowning secret which Sankara wants to pass on: it will abolish the duality between Prakriti and Purusha (mind and matter).
The Eka Purusha (Primordial Person) in the sun described by Vedanta meets its counterpart in your own eye by descending through the chakras vertically through the Devi's body.

3) "The psyche is a collection of relationships": the interpenetration and relations of togetherness of value-factors in life: this is the Sri Chakra.

4) If you ever copulate properly, it is a mathematical operation: an electro-magnetic rod is being inserted into a Bindu: the result is a great delight very near to Brahman.
The light of the electric spark in the vagina will fill the whole universe.

5) The Devi as Mukambika (the Silent Mother) has something to say by way of normalisation:
6) Let us begin here and now with the ontologically real: you can prove God from here; put yourself first in the proper perspective - where do you belong?
"Somebody is talking about an Absolute Goddess. I will place myself as a supplicant worshipper, I am a humble person placed below the Alpha Point".
The worshipped must be superior to the worshipper.
Thus I am at the bottom of a vertical scale of values.
Then "Shiva shaktya yukto..." (Shiva is united with the Devi)


6) All this world results from the interaction of electricity and magnetism.
A black cloud crossed by lightning (like thinking) is like an elephant.
A cloud with a vertical axis: this is the "thinking substance" of Spinoza.
Begin with a chakra, a man is meditating, show a circle for consciousness.

7) There is no proof for there being only one truth, there is nothing to say to a pluralist. "I am a human being seeking truth, I will not get off until the last bus station. You stay here if you don't want to go to the last stop: I am going on."
At the last station is the golden-bearded, blue-eyed man in the sun, talking to the man in my eye.
When the neon is about to be lit, there is glowing at the Alpha and Omega Points, then the whole tube bursts into light."

8) Method: Start with a negative island with the Island-Sleeper, Sankara: he believes in one truth, plurality and paradox are not accepted.
He is an akrta punya (a person of no relativistic merit) who does nothing but pass through the field from Alpha to Omega. He will say: "I am not playing the game, but only explaining certain things to clarify life for people".
Show a magenta sunset, thus including the subject-matter of the whole work.
Show a black dot (the island) coming nearer and nearer..
Twilight and evening are very important; reduce all twilights and rainbows to a Sri Chakra.


9) The light of Vedanta is a double light, both from double assertion and double negation.

Allah is light - all right. But there is an Absolute Light hiding on the negative side, in the square root of minus one: the light of the atom bomb.
Pray not to Zeus, but to the circle in your stomach that is the Devi.



The Guru's space has cones and chakras and conic sections.
The Devi's garland between her breasts is a hyperbola coming from the other side of the universe, like Halley's comet, which appears, then goes to the other side of the universe.









11) The Devi has to depend upon Shiva as a catalytic agent, an unmoved mover.
The moving side is horizontal - Parvati.
The unmoving side is vertical - Shiva.
Evolution is all right for the Devi but not for Shiva.
Together, some colour evolution is all right, like a ripening mango, but not chemical evolution.

12) The Devi copulating from above is supposed to be one of the great secrets of Tantra in Bengal: interpenetrating triangles can point either way: in any case there is a cancellation between penis and Yoni, whichever is ascending or descending.

13) The Devi's function is horizontalization, the evolution of colour into magenta:

She is:
Aruna (magenta), when seen from the Numerator side,
Karuna (kindness), when seen from the Denominator side.
So, the essence of the thing is the vertical parameter and colour mathematics.


14) Sankara states that he is an akrta punya (a person of "ungained merit"): there is no papa or punya, no sin or virtue: no holiness or light-waving or Ganges etc. in Vedanta.
Vedanta has nothing to do with Brahmanism
"- do not ask me to worship in a temple, if I speak of Vishnu etc. it is only to transcend him".
This must be brought out in the first verse.
Sankara does not worship the Goddess, he is outside the picture.
Vedanta is the negative approach - Nivritti Marga- just understanding - no ritual.
Brahmavit brahmeva bhavati. (the knower of the Absolute becomes the Absolute)
The Veda ends, then comes Vedanta: cut down the Vedas.
Chatusutri: The first four sutras of the Brahma Sutras must be studied:
1)" Now therefore, let us study about Brahman." (Who? See Sankara)
Jnana karma samucchaya is the promiscuous mixing of action and wisdom
Samucchaya is bad
Samanvaya is good
Do not mix the Vedas with Advaita Vedanta.
Nivritti marga and pravritti marga, the negative and positive paths:
you cannot have the same medicine for both tightening and loosening the bowels, the two paths cannot be practised together.
Jnana karma samucchaya: to distinguish between the two above,
Advaita establishes an equation between the two sides: this is samanvaya
See Chatusutri for the epistemology of Vedanta.(Sankarabhasya: the commentaries of Sankara)

Samucchaya is mixing the two, wisdom and action, with contradiction ; retaining the contradiction
between Veda and Vedanta.
Samanvaya is equating the two vertically so that it does not matter.
It is objectionable or not, depending on the perspective taken.

In and through the ritual, it is transcended through double negation.
Cancel out the subject and object by pouring ghee (clarified butter, used in religious rituals by Brahmins)
This is the same as Tat Tvam Asi, Thou art That (the Absolute).
Ritual can be transcended in, through, by and for itself:
do not oppose it, it will never end:
do not attack it horizontally, attack vertically.
Go see places, get away from it all.


Method; show an island-sleeper (Krishna Dvaipayana) turning into a map of India and into the Himalayas.

The Guru's contribution concerns the structure of the rainbow,
The rainbow is a Kama Deva, an Eros-figure - you get the right to talk about one colourful god already: put Kama Deva in the centre.
This gives at once a frame of reference, especially a double rainbow; you can do the same with a crystal.
If you take a plane 50 miles to the other side of the rainbow, you will see the opposite of a rainbow, a black rainbow - it cannot be otherwise.
The rainbow is independent of time and place: universal concrete truth.
It has a value: "My heart leaping..." This is like a god.

The Advaitic Approach to Duality.
"The play is the thing." i.e. life and dreams are the same thing, thus let the Guru represent himself as the head of the Gurukula.
The Rishis (sages) said: "Cancel out duality within you somehow. "
"How is this world related to me? How am I related to this world?"
This is the central question of all philosophy..
Advaita tries to relate the visible world with the intelligible, the objective with the subjective.

"Something is making an impression on my senses, and I am trying to understand it".
Adyatma, Adibhuta, Adidevata = Psychology, Cosmology and Theology.
These are three methods of research or inquiry known to the Rishis (sages), but not so clearly itemised in Western Philosophy.
We look around and ask:" What is this all about?"
We get three answers.
Let us console people who are suffering and say:
"Here is a book which seems to give us answers in a highly intuitive form."
Human beings are travelling in a ship, you should know which end has the rudder and which is the front.


Some Verses Briefly Looked At.


Show Shakuntala being mocked; she carries a golden pot almost the same shape as her breasts. Borrow from Kalidasa.
The breasts are sometimes golden pots, sometimes ruby pots: see VERSE 73.

Subrahmanya is in Ajna Chakra,
Ganesha in Muladhara Chakra:
neither have sex, one is too thin and one is too fat and comfortable;
it is the man in between who has to copulate.

The Devi's legs are quivers. Her toenails are sharpened on the crowns of gods.
The point is: within the personality of the Devi there are two kinds of hardness: diamond hardness on the negative side, and hydrogen-flame "hardness" on the Numerator side.
One increases with the other, thus the crowns are whetstones; there is a cancellability between the nails and the crowns.
The bipolarity between the ontological and the teleological is brought out here, absolute hardness does not reside in any one part of the body.

When schematism is known to you with all its dynamisms you become a wise man, your consciousness becomes like that of a baby in the womb, verticalized in Lobachevskian space. You know your past and your future, what it is possible to do with yourself and what is not possible.
Guru decided yesterday it is impossible to start with a full film: start with cassettes showing the whole work in lesson form. The film can be made from the tapes later. Let the tapes be as long as needed to explain the verses completely with all supplementary stories and explanations.
There are no short cuts to wisdom, it cannot be compressed into a few minutes.
"I live in an age where there are inventions, I did not create the cinema or books; we give publicity to wisdom through these."
The vertical axis is happiness, the horizontal axis is suffering: teach people to adjust their insides; you will do them a great service.


God, according to the Guru can be in three places; in your heart, in your mother's feet or in heaven, between the eyebrows.
Whatever god they give you, ask for his functions and place him mathematically in a schema.
The contribution of Vedanta: svadharma (your own dharma - karma verticalized) is to be cultivated from the Denominator side, do not try and pick your svadharma from the Numerator side.
Start from the side of cause, and work upwards to your own spiritual progress.
Do not try to descend from above,
do not put too much emphasis on the prophetic side.

The Cassettes:
1) Cassettes of 25 minutes.
2) Education > Entertainment.
3) Classroom, cavern, ashram, campus.
4) Explain structuralism
(Schematismus, proto-linguistics, medium and message.)
5) Expanded cinema (Cybernetics, synaesthetics)

Guru decides on 35 cassettes and that the Devi must come to his rescue.
The Devi is the source of life from below,
She is how you can assert yourself positively.
So there are two limits in a person: Kundalini from below and Kechari from above.
Always swing between an island and the top of the Himalayas, with a parallelogram of forces between them.
The soul travels up and down like the Kinnaras (celestial musical beings), sometimes happy, sometimes blue; sometimes feels like Brahma, Vishnu or Shiva. Just concentrate on the appropriate Chakra, respecting the appropriate verse.
Every verse gives you a state of mind in the vertical axis.



Yoga, Chakras, Zen, Samadhi, Satori, Nirvana.
Tantra, erotic mysticism.
Modern Science: the physical world: macro- and microcosm.
Inner and outer space.
Structure: man versus machine.
Delights of mathematics.
Salad and vegetables- no meat (?)
Hate passports - like community life.


In the first verse there are three kinds of disciples:
- Paramashiva (the supreme Shiva) is sitting in the kumkum (magenta dot) on the Devi's forehead.
- The three gods are in another chakra lower down in the Devi's body.
- Sankara is outside, meditating on the three chakras.

The god in the sun will jump into the pupil of your eye and back again many times- easily - he is Eka Purusha - what results is a neon light establishing the equation between the two sides.
This is the yoga of Vedanta, Shiva embraces Parvati very closely, and thus the world comes to be: you cannot separate electricity from magnetism.
The Samkhya school of philosophy is not complete, Prakrti and Purusha (nature and spirit) are kept distinct and not finally put together.
Here the view is from the negative side which gives a close view of the horizontal: This is Satkaranavada - a philosophy starting from ontology.
Advaita is Satkaranavada, it will never ask you to believe in anything but yourself, behaviour first, belief afterwards.
Pratyaksha pramana: is the sanskrit term for the method of experimental verification, not to be discarded in Vedanta.

1) Absolute Beauty is held up as a value to be worshipped by an Akrta Punya ("person of ungained merit") at the negative limit of the vertical axis or Alpha point. Start with existence, with the created world. A simple peasant mother in an Indian village will know what to worship: the blue cloud that brings rain and life.
Show temple rituals and ceremonial: give a rough idea of spirituality in India; distinguish Vedanta.

2) A Guru or Yogi can be shown explaining something; the philosophy of Advaita.

Two doctrines are presented here:
1) No ritual building up of merit.
2) Enjoy values in life, promote yourself by understanding values at different levels.

Put the Devi in her proper absolutist perspective,
do not mix her up with the Tri-Murti (The three gods: Brahma, Vishnu and Shiva).

Half of her personality is grafted onto the Numerator side, (matted hair, crescent)
Shiva Shaktya Yukto ( Shiva united with Shakti) is a value with an ontological reference. (see Purushika in Verse 7)
Look at the Devi's feet, not her hands. Do not minimise the pratyaksha (the method of experimental verification)


1) Brahmavit brahmeva bhavati ("the knower of the Absolute becomes the Absolute").
2) Satkaranavada.(cause is given importance over effects)
3) The Devi is the result of cancellation.
The whole of the doctrine of Vedanta should be woven into the fabric of the film, tacitly.
The Saundarya Lahari can be divided into ten columns of ten verses to correspond with each chapter of the Darsana Mala: try and treat the two works as a series of parallel verses.
Include all of Vedanta Siddhanta, omit the gooey stuff.



The positive numerator side of the Goddess can be created by the poets.
The heavenly maidens understand that side automatically.
They also want to be in union with a husband on the numerator side.
Ascetics are outside the picture completely and have to supply both Numerator and Denominator by abstraction and generalisation; it is difficult for them to visualise.
Heavenly maidens supply the Denominator, poets supply the Numerator.
Beautiful maidens have verticality in their own beauty, poets have verticality in their imagination.
The Ascetics are disgruntled people whose family lives are broken up.
The girls on the Numerator side quickly appreciate the Denominator and cancel out.
The poets, who are ordinary men on the Denominator, fill the Numerator side with beautiful gods, and somehow make the cancellation.
Ascetics have to meditate 10 hours a day. They have to supply both sides of the equation and cancel them out with each other.


Use the Heuristic method for arousing interest in the students: ask the most important questions at the beginning of the tape, then answer them all in the lesson portion.
Isolate the Karuna (kindness) and the Aruna (magenta): make the people fall down and say their prayers. Rake up the problems at the beginning of each tape, but save the synergetic cinema for later. They will not be able to understand it anyway, but it will leave an impression.

Sankara is an akrta punya, a man of ungained merit, because the way of Vedanta is the negative path (nivritti marga) where merit has no place.
Say "neti, neti" ("not this, not this") until you get the square root of minus one,
Then everything takes place in a kind of negative or Lobachevskian space, like the fallopian tubes or the womb. The empty part of a woman's body is like an oven; it is a mysterious space belonging to the whole universe, containing electricity and magnetism which will polish the skin of the baby and give it colour. This is all done by a tremendous fire burning at the negative pole of the Kundalini which takes the form of eroticism - however the spermatozoon is still needed.
"I am a Vedantin: I like the negative side and take the side of the servant-girl".
In his commentary, Sankara says you can study Vedanta if you are curious, you do not have to be a Brahmin: the barrier of caste is abolished. Atato Brahma Vijnasa...
"Let me start with ontology, pass through the tube, come up at the Omega Point and transcend."

Understand the structure of a woman.
Yoga consists of recognising the servant girl.
Do not have a God; give beauty the central place and give it to a woman.
If you deal with theologies you have a problem of one being superior or inferior to another: "is Trinitarianism better or worse than Unitarianism etc?".



Narayana Guru's earlier works are poetical effusions of mystical feelings for the Absolute: he had a strong natural mysticism belonging to the soil, with a nervous system like a great cricketer.

Vedanta abolishes this world with a quaternion structure, not just by denying it. He is able to put his finger very correctly on Sankara's Vedanta, and to correct it in certain places.



Verses 1 to 10:
1- Vedanta is radical; do not ask me to come into the temple, there are no rituals in Vedanta,

2-In Vedanta the world is a "monde affiné" as Bergson calls it - a flux; a world of particle physics, not as actual as it seems.

3- Put Absolute Beauty at the Bindu (central locus) of the quaternion, do not put a comparative or relativistic goddess there: there is a fourfold structure.

4- Vedantic Methodology: primacy is given to cause - do not get lost in effects. There is a borrowed light of Absolute Beauty, a reflected glory as when Vishnu takes on a women's form as Mohini.

5- Erotic occasionalism; the arrow of Eros can hit Shiva if it is aimed vertically.

6- There is a four-dimensional abstraction and generalisation;

7- The Goddess as Purushika with four limbs bearing noose and goad, bow and arrow.

8- Conic sections; getting away to the negative side is loud.

9- There is a stable ascending series of cross-sectional positions: Chakras

10- There are ramified sets of values within the Absolute on the positive and negative sides:
two trees of Porphyry, one growing upwards and the other downwards, representing existential and subsistential values.

1)Let us understand things either in terms of Vyavaharika (immanence) or Paramarthika (transcendence), with either a common-sense or a transcendental reference. Do not teach confusion, it is the wisdom sacrifice that we want.

2) Colour involves thousands of vibrations per second. Science deals with exponential measurements: subjectivism, selectionism, and structure.
Put everything into the melting pot; a Bergsonian flux: see Eddington.
The world is a vibratory system of colour patches, there is no rigid world of things.

3) Four types of person appreciating Absolute Beauty at the centre, which is your own consciousness, the Bindu or locus common to all of them.
Meditate there and normalise your tendencies.
All four limbs are only particular instances - do not get caught in any of them.

4) The importance of the square-root of minus one - The root aspect is the most important, magnetism and electricity are at right angles.

5) You can become beautiful yourself: just think of the beauty of the Devi.
Become beautifully balanced like a flower.
Beautiful means normal.



VERSES 42-43

First descend from the ruby to the parting in the hair, that is the vertical axis - the main central road. Think of it as a river with the reflection of magenta sunlight: the high road to heaven.
It goes hypostatically to infinity.

Jainas and Buddhists come very close to the Absolute,
but you cannot worship "nothing".
They have not arranged a scale of values and given a content to Absolute Beauty or reality.
A whole series of chakras is needed without a gap between the Alpha and the Omega Points.
In the Saundarya Lahari Sankara gives them a map, showing all the intermediate stations: even if you are capable of going directly to the highest Satori (enlightenment), you had better know the intermediate steps.
There are two smells in Parvati's hair - the natural fragrance and the smell of the flowers that are put there.
The series ends with the Devi's jingling anklets teaching the cygnets how to walk.

Note: Mukambika temple is the headquarters of erotic mysticism in India.


When the two scents come together, our sin is banished.
Narayana Guru has a similar reference where he writes that a garland of three kinds of precious materials (silver, quartz and pearls) should be worn by Subrahmanya.
This is the essence of idol-worship, when the cancellation takes place, sin is abolished: c.f. Kalidasa who will cancel all evil in the body with sandal paste.
So the attempt is to achieve erotic cancellation of sin and concupiscence on your own Denominator side with such a Numerator.
A woman has a perfume rising from the leg (?) to the hair, like a flower.
We live in the gooey stuff; try to cancel it out with this: even if it is not true,
it is healthy to believe it.



Why does She have bent eyebrows? Because She is concerned for her children.
Two bows are seen in the face of the Goddess, one vertical and one horizontal, with arrows at right angles.
This is the same as the Michelson - Morley experiment with the Fitzgerald contraction and Lorentz transformation.

Just go ahead and try and make the expanded cinema portion without trying to explain the verses: let it remain as an interesting if incomprehensible oddity.
Later, video tapes can be made to explain the subtle doctrines more fully.


Twilight is the resultant of sunrise from one side and sunset from the other, 12 suns fuse into a vertical axis after one year.


Two scents coming together cancel out to reveal the Absolute.


The parting is like a river, it makes the vertical axis leading to infinity, and reflected magenta light is there.


A conic-sectional view of the Goddess; a lotus floating in water, covered with honey-sucking bees, the face is shown here.


The forehead is a second crescent, one is conceptual, one is perceptual - they come together.

She is thinking of Shiva and wears his hypostatic crown while she also has her own crown from the Denominator side - there is a cancellation between the two.


"Bent eyebrows": show the two bows with laser technique.
"Your cheap eroticism is not good for my children, go away with your cheap jokes."

She approves of eroticism only up to a point - here she is "somewhat" angry, she is more on the side of Shiva at this level.


The vertical dimension is brought in: the third eye belongs to twilight time, day is breaking.


Show different eyes with different expressions to correspond to each city - make the face of the Goddess into a map of India.



Additional Notes:


True poetry has to relate Numerator and Denominator,
this must have a visible story to be used in the film. Show Parvati and Parameshwara (Shiva) embrace: this must be understood in terms of consciousness - Numerator value and Denominator enjoyment meet and unite in inner and outer psychedelic space.



represent events as stated in this verse.
It refers to the Kundalini snake, to be explained by a proper Guru in the film.
All clarifications need to be explained by a Guru in a dialogue, clarifying all enigmas: like a lesson.
Matter and method are roughly the same: explain it all.
The Chakras can again be represented, as also the grey man meditating.
A snake coiling and uncoiling can also be represented.


The tongue is the locus here, the transition point from perception to words. .
On the Numerator side read good poetry,
On the Denominator drink a glass of wine.

1-Structuralism viewed from the Omega Point;
a contrast between Omega and Alpha Points of perspective:
At the Alpha Point is a colour solid,
At the Omega Point is a brilliant light.
Here and now, the universal nowhere and elsewhere, at a point in time;
at the O Point, the structure tends to be a matrix.
Letters of the alphabet of any language can be used as the monomarks for the various rays, held together at the core or Bindu where the feet of the Goddess can...(ends)
The whole range of possibilities from earth to sky or mind are covered here in ascending order and the pure notion of the Absolute in fully conceptual terms is represented by the twin feet of the Devi at the Sahasrara , the positive pole or Omega point.

2-The Bindu can be lit up as by a torch and pointed at any of the intermediate Adharas or stable resting places. Each will have some constant dignity by the cancellation of counterparts.

When this structural dynamism is kept in mind, the purpose of this verse becomes understood.



Four-sided semantic polyvalence is to be brought out.
The subject here is balanced poetry; a law of rhetoric is given:
Alternate two things in order to give absolute balance to your poetry: this is a rhetorical and dialectical secret.
Word and meaning have to belong together, do not get lost in the conceptualised world of description.
Show a quartz crystal with light and dark sides.
Vishnu and Kali are very, very dark: in that darkness, suddenly show the diamond that Vishnu wears.
There is a total structure to be shown in the four hands of Saraswati, or some other god, to show the conceptual and perceptual aspects.
( A big mirror in a dining hall: a poor man cannot eat the meal he sees there)

The absolutist touch is supplied by the crescent moon and the matted hair.( these are the same as worn by Shiva).
Contrast Saraswati with Bhadrakali (the terrible form of the Devi).
Narayana Guru says that the Absolute is terrible, do not say that it is not.
Humanity is in agony, let your Goddess reflect this agony.



Show the silhouette of a meditator; with a red, green or white light in the centre.
Mark six intermediate stages or chakras on the vertical axis, and represent the moving image of eternity with a figure-8.
Pass gradually from the lower to the higher.
Increase the voltage to show the ambivalence between the lower and the higher halves.

Show a radiant colour solid at the bottom, a matrix at the middle and a radiant luminary at the top.
Play with the voltage and colour techniques on crystals, make it light and dim alternately.

Let the matrix glow as if set with moonstones of different grades of fluorescence.
Show a scintillating diamond emitting sparks at the top - a blinding brilliance.
Show the imprint of red feet at the topmost point, the closing chakra, the thousand-petalled lotus, the Guru and the Vidyarthi (wisdom-seeker).

SLC1 - P25

VERSE 16 (illegible line)


This is the same thing as apperception in teaching, the fusing of the old and the new - i.e. the previous verse, of which this one is the converse.
This Verse 16 is the normative reference for the Goddess throughout this work.
The four-fold semantic polyvalence of this verse is found in Kalidasa:
Parvati is watering plants and Parvati is feeding Subrahmanya.
The pot-like breasts of a mother are a holy thing.
You can see God there, He has used his grace to fill them with milk.
The shape of the breasts is very important: it shows that the woman has been meditating very hard; that the intuition to feed the baby is very strong.


In the Bindu is the abstraction and generalisation of the total value factor.
This is semantic polyvalence.
It is necessarily vague, and it is Aruna colour: it is essence itself.
This also refers to VERSE 15, these two will be taken together.
All of these verses which refer to the Aruna colour should be taken together.



Put the face of the Devi in the Bindusthana at the centre.
Here is a closer view, in term of gems, of semantic and semiotic processes:
there is the broken diamond at the Numerator and the fluid moonstone at the Denominator.
These aspects must be blended together to give the best of poetry.
You should use a scintillating phrase, followed by something more dull;
there must be a flow between them.
Syntactic and semiotic processes are described here, it is the same idea as before, but more concentrated.
There is a lotus half-open connected with the face, there are no feet: this is a more normalised view.


The dark lines of the lotus on the Denominator, the iridescent glow of the same lines on the Numerator: then let them interpenetrate so that the lower one glows and the upper one fades, as they merge into one another. Show the difference between the cut diamond and the glowing moonstone: then refer it all to the magenta glory.
Show peasant-girl beauty and show film-star beauty

SLC1A - P26


1) The idea here is a neutral, normative colour, which can cover the whole world.
2) Bring in also the gold dollar, and the small change.
3) The deer is a vertical animal, its eyes are often referred to in Sanskrit poetry, e.g. .in Kalidasa's "Shakuntala"
Insert Shakuntala and Dushyanta making love in an arbour; a deer comes to drink water from a lotus: the deer is frightened and runs away from the horizontality.
The deer chewing the cud is so peaceful that it approaches verticality.
Dushyanta is the horizontal, and the deer are frightened of his arrows
- "your arrows are like fire on the flowers", the flowers are in keeping with the vertical.
Create an aurora borealis into which the deer disappear, then it covers the world.
The ideal woman is to be like the startled deer, not like an ascetic (tapasvi).
Horizontal and vertical are brought together in the purest context:
Dushyanta wants her to have a baby, not just to have deer for friends.
He says that the head of the ashram is trying to cut a diamond with a blue lotus and she has been waiting for just such a man to come and marry her.
She does not speak throughout the play; she represents the Absolute, and all of the action takes place around her.
As for the deer, they copulate so gently; as no-one has ever seen.
Show some beautiful heavenly damsels, then bring in some deer, and then compare the eyes of both.
Then they jump with great agility - this is the point, for the starting point of the negative side is agility, not austerity.
c.f. verses 17 and 18 of the "Meghaduta", by Kalidasa.
Some of the descriptive verses just preceding can be used - cloud, lightning, hilltop.

SLC1A - P27


Ascending eroticism is one thing, descending eroticism is mysticism.
First focus on the face, then divide into the breasts (cf. sun and moon) as Numerator to the Denominator breasts (they can point downwards.)
The face is the central locus.

1) This is a revaluation of Kaula (relativistic erotic Tantra).
2) The relative and actual side, the hypostatic and hierophantic sides: when you put them together, you get the gold dollar, when taken part by part it is pluralistic small change: it gives you a kind of psychic power (siddhi ) over women, but not salvation.
3) If you want absolute consolation, you abstract and generalise and concentrate on the Devi as the Absolute Goddess: this is quite a different thing.
This way you agitate the Devi herself "of the three worlds".


Show a degenerate city, full of temples, like Kanjeevaram, this is a picture without a Numerator, and whatever pleasure is found there is really suffering. But when the Numerator is added, then some enjoyment is possible: you will find something else of absolute value: this advice is given to some hippie by a Guru.(e.g. fanning the raja, with their tears in the air, as in Kalidasa's "Kumarasambhava", or elsewhere in his work, where the Numerator touch is needed by tired women.)
(Narayana Guru said the servant woman doesn't have time to go to the WC )
"Look at the humility of this mango tree, its mangoes reach to the ground, it is not proud".

It is not enough to negate the Denominator aspect, we must also give some content to the Numerator. The development of a chick from a vertical line in the egg can be shown.
Then the Numerator aspect here can be shown to develop from the vertical axis, with not much of a head, and thus into a four-fold structure.
The breasts (Numerator) are pointing upwards because the vitality comes from above somewhere: the source of the endless stream of milk is four-dimensional.
Vulgarity does not go anywhere near the breasts, they are fourth-dimensional.
The main thing is that the breasts have a fourth-dimensional aspect and are not to be taken lightly: a woman nursing a baby is not a joke, the function descends from above.
Make a vertical axis of fire, moon and sun.
The fire disappears, the sun dims, the moon dims and they become breasts.
There are four: two ascend and two descend, they merge into just two.
The body of the Devi is the vertical axis.
From nature: c.f. Madhu Brahmana: gathering pollen, horizontally distributed, like milk. The lower breasts are dark, the Numerator light, they merge and cancel out.

SLC1A - P28



This is a kind of complementary part of VERSE 10, they must be treated together.
There is a structural difference between them.
Both of them treated together form two structural trees; the core is the moonstone. When all the nerves meet here as spokes in a hub, one feels a certain contemplative calmness and peace.
Normalisation and centralisation are practices in Yoga.
The Numerator side can quell serpents, the Denominator can cure fever;
one side of fever is cured by correction on the other side.

The potency of the snake is cured vertically,
Fever is corrected horizontally.


Put the core into the heart, into it go the firework spokes of the Numerator and the subdued light of the Denominator, the man who meditates thus can be shown curing fever by his look.
All disease and fever come from disparity, the man who neutralises these like two inverted trees has the power to cure others.
Show the Yogi leaving his cave and going to the hospital with some water.
Then show a snake being torn to pieces by a vulture, this means the Numerator entity can correct the asymmetry of the Denominator - death is hiding at the Alpha point in the form of a snake.( Improve this example)
The bird can come and frighten the serpent which tries to climb up the vertical axis, when he sees the bird he falls down in fear. There are all sorts of possibilities with light tricks by the cameraman.
Subrahmanya can be shown fighting the Asuras, also Rama and Ravana.
Narayana Guru also had the power to defeat the pride and egoism of anyone.
Take examples from human life - animals fighting is not sufficient.


SLC1A - P29



Explain the following points:
1) Why "lightning-bodied" ?
2) The vertical axis with sun, moon and fire as Numerator factors.
3) Transcend these six lotuses and put the focus of attention above them.
4) Add the horizontal axis in the form of a forest of lotuses.
5) Relativism is to be transcended, the mind needs to be purified.
6) When these conditions are fulfilled, you can get a vision of the Absolute Goddess.
7) Inspect the vision of the Alpha point and horizontal axis from the Omega point.
This vision is a crystal-clear vision of the philosopher; a "monde affiné".
Here show the lightning first, then a vision by ascent.
This verse is complementary to VERSE 16.

Represent three Indias:
1) Kalidasa's India seen from a cloud passing over it (in his "Meghaduta"),
stress the importance of Shyamala and of Ganesha writing with his own tusk;
show the sunset over the battlefield of the Mahabharata.
The elephant (Ganesha) writing is the Numerator of space, there is a hard part of space which is both conceptual and perceptual; the fourth dimension is the baby elephant itself.
1) Kalidasa, 2) Sankara, 3) Tagore.
There is little method here, except for work with the camera man.

SLC1A - P30



April 24, 70


Begin by relativistic worship from the Numerator side, culminate in the Trimurti (the 3 gods) offering puja (worship) at a temple.
Outside the temple is the Vidyarthi (wisdom seeker): he says " Bhavani tvam.." ( "let me become you" ) and he is immediately overwhelmed: the others come out of the temple, see him meditating there and do Puja to him.
Indra, Varuna and others should be told as they leave, that out there is the one they should prostrate to.
He sees only magenta glory, the third eye, the crescent moon etc.
This is a repetition of the same image throughout, with appropriate music etc.
The boy who was a Vidyarthi has now become a Yogi (Sankara).
The Absolute is ready to be kind to you, and you should be ready to be overwhelmed.
An elderly disciple should tell the temple-goers that if they go to a certain tree,
they will see a saddhu (wandering ascetic) who has realised the Absolute Goddess.
"More than asked for boon": people are thirsty on a hot day, suddenly a terrible downpour comes.


Show a half-formed figure-8 as in VERSE 7, motherhood and pride do not go together; there is a humility and a generosity there.
There is bilateral encroachment of the negative as positive absolutism.


Finally only the mathematical crescent moon and crown of Shiva are left:
everything else is abolished in magenta glory.
The Devi has no desire or need to abolish the mathematical limit,
you cannot feed a baby with mathematical formulae.
Again, this is all camera work.
Show Shiva and Parvati together, show the change of earring.(In sculptures of the "Half-Woman Shiva", where Shiva and the Devi are fused in one body, the right and left sides are distinguished by one wearing a woman's earring and the other a man's)
The point is that mysticism does not contain man or woman, but vertically transcends both.
Show the left breast of Shiva developing into its female counterpart.
Mangoes so heavy that they touch the ground can be shown here.
Some of the horizontal aspects of the god Shiva can be shown being absorbed by the Devi, but not too much.

SLC1A - P31




1) Reverse the process of Shiva fading out completely, but leaving behind something vaguer than the magenta colour.
2) The control (?) of the Devi on the Numerator is not inoperative, however.
3) The eyebrows vibrate to show everyone in split-second alternations of light and darkness. The three gods must be shown here.
4) Bracketing - thus bringing in the phenomenological epoché.
5) A construction process and reduction process.
6) The pure Absolute remains, but not without the control of the vibrating eyebrow-twigs of the negative principle.


first show the horizontal process, see VERSES 1, 2, 26 and others.
Show magenta glory circulating; the top is smoke, the bottom is dust.


The figure of Brahma comes from the bottom of the globe;
Show the others as well, graded in realism to the most horizontal, then fade it back into vague terms, finally attaining a fluorescent glow as the vertical axis without gradations between Numerator and Denominator. It wants to evaporate, but the eyes of the Devi appear at the Alpha Point; Shiva gives in and does not destroy the globe after all.
So there is a kind of " breathing" between the vertical and horizontal aspects, finally the whole globe fades back to magenta colour and then fades out - the balance having been attained between blue and red, after alternation of prominence between them.

SLC1A - P32




1) Reference to the footstool and the placing of the hands above the crowns.
2) Eternally worshipping.
3) These three are component parts, functionally and analytically, of the Absolute.
4) Sankara: abolish the Trimurti (3 gods), recognise the eternal aspect of the Absolute, recognise the footstools, hands above; Numerator and Denominator together: include hylozoism, then it is real puja.
5) Cancel out the last vestiges of relativism, including Nama and Rupa (name and form).
6) The crown itself is not cancellable against the footstool, thus the hands at the Omega Point.


1) Show magenta becoming the three stratifications as in VERSE 2 to show the continuation of that theme, then arrive at the three gods.
2) Make them descend and do Puja-puja in the temple.
3) But not your basement Puja, orthodox and queer, Samayin or Kaulin
- a contrast with the real Puja.
4) Then the Devi appears, include the bud-like hands and the footstool:
the Devi's voltage and smile are increased as they fall to the ground, but this is not yet Puja-puja....
5) The Vidyarthi (wisdom-seeker) is now brought in, talking with his Guru, he is full of mystical experience. When he reaches the Sahasrara at the top of the vertical axis, then the Pujari (priest) of the temple comes to do puja to him.

SLC1A - P33



1) The "constant spouse" is the controlling factor from the negative side.
2) Supply the negative pole to Shiva and keep him from fading out.
3) The constant wife has the power to bring you back to life, there are other stories.
4) Link this verse with VERSE 28, the black thread of marriage, also VERSE 34 from Shivananda Lahari. Savitri and Satyavan, and others.
Colourful mountain-tops fade into a dismal kind of grey, like the gods.
Then, one of the scenes must show the Devi's power over Yama, the god of death; She does worship to Shiva, and he is willing them to live: this is descending dialectics.


is a continuation of this verse, they can be treated together.
Show the churning of the milk-ocean. Shiva drinks the poison, but does not die.
Show the bands around his neck as some kind of spectral bands.
This is Double Negation.
Show here that mere assertion (the drinking of nectar) is not as good as double negation, an example of which is priming a pump to create a vacuum.
Create any number of gods on the Numerator side - they are weak.
But to touch the Alpha point water and by double negation to draw it up by pumping is much stronger.


"Put a circle around what emanates, then equate that with me";
An equation and a cancellation are involved here.
What I do and what I am are dialectical counterparts to be cancelled out.
Numerator should become Denominator and vice- versa.
They are interchangeable.



Subject and object are a reversible equation and the object is an ensemble.
(In the universe there is Krishna, in Krishna there is the universe, as the Gita states)
Also a comparison is made between the micro- and macrocosm.
It resembles Planck's quantum mechanics, also implosion and explosion, entropy and negentropy.
Show the logarithmic relationship between the image in the microscope and in the telescope.
c.f. conversation with Maitreyi and the Hermetic secret.
A conversation between father and son: "I love my father, I love my son."
There is between them a love with a capital L.
Cause and effect become the same.


VERSES 26, 27, 28, to be taken together.


Surviving evil by double assertion.
He survives without double negation.


Equation of Self with non-Self. This is a neutral position or matrix - use the crystal here, to show equalisation.


Double negation - "Not, not" is more affirmative than a mere "Yes". Begin with VERSE 27 as in notes on previous page, then go to VERSE 28
Double Negation - show a man in a well kicking his feet in the water and saving himself.
Let it be Eros: show the milk ocean churning and the drinking of poison.


Then show the woman sprinkling water on his eyes, he survives by double assertion, the man jumps into the water and saves himself by arm strokes alone.


Whatever the number of electrons, they cancel out with the nucleus; the "H" of Planck remains unaffected:
c.f. "La Structure Moléculaire".
The parity here is reflected in molecular structure.


Certain Numerator factors of the Devi come to worship the worshipper, a subtle complementarity is to be brought out between them. Show the poor, probabilistic status of the siddhis (psychic powers),
They are small change, like electrons, not like the neutron, numerator electrons are weak, compared to the denominator neutron status of the worshipper - ontology is more important than teleology.
The inter-subjective and trans-physical relationship must be shown so that they cancel out into the vision of the Absolute.


A diluted version of the Guru giving too much power to the disciple.(Shiva)
(read Basmasura)
In the Yoga Vasishta, there is the argument between the demoness and the king, subjective versus objective.
c.f. Hercules fighting in Hades for Alcestis; cater for the groundlings.




Try to incorporate this with the other verses into which the three gods appear;
they can be put into a series, a kind of "strip" or continuous story, repeat the parts that are relevant here, do not lose the continuity. This can be finalised later.
This may be the place to give full-dress treatment to what has been said previously. Show the mandalas and the Sri Chakra, let the Devi enter through the back door, with great fanfare and blowing of trumpets; even the Brahmin can be brought in here, do not abolish him. First put the Brahmin down, then let him come in and say some mantras, with his loincloth and pigtail; give him a coconut. Then Shiva can be shown descending in a spiral on the bull Nandi, in a kind of chariot; he enters through the front door, the Omega Point. Some of the maidens must run away at his approach, there is a lot of noise. Shiva does not enter, but is about to enter, and the Devi about to rise. Bring out the meaning of the three warning shouts which are given. Show the three gods prostrating on a "second floor" stratum; let it build up just to the climax, then cut to the Vidyarthi (wisdom-seeker), and show it was all his dream or meditation.
There can be a stock of characters: the Vidyarthi, Brahmin, Kaulin etc.
It must, of course, show that the Devi does not rise, but is about to rise.



Show the firefly lights that fill the Numerator side; her body is Denominator.
The meditator also has a Numerator and a Denominator.
Let the Siddhis, (psychic powers) come and fill his Denominator side like fireflies; he says: " I am you, O Goddess…" and then he becomes worthy of worship himself.
Then show the two pictures together, forming a vertical axis, very similar to one another, with the differences gradually fading out.



This can be treated with the previous verse.
Instead of Siddhis like fireflies, show beacons and searchlights emanating from the Numerator of the Devi. Finally they merge into one column of light with the Numerator clearly indicated and the symbols of Shiva shown.
Then show a colour-solid and brilliant black at the Alpha Point.
Shiva in his radiant beauty is tempted into descending the tube;
they meet at the central locus with the usual magenta, turning etc.
The same refrain-piece can be repeated here.

"Causes the firm earth to be brought down for the fulfilment of all human life purposes": the Devi here is the Word, not as Nous, but as Logos.
Here, the Guru speaks of the Absolute necessity for the disciple to draw in all the senses, dropping a thin, vertical thread
This drawing in of the senses is Tapas or renunciation, the begging bowl.
"I am telling them that the mechanism is very delicate - that is why I insult the disciples, there is no time at which they do not want something; they must be introverted and calm."
Here the Devi comes from the opposite side to create terra firma: a negative and positive pole, and a line which is firm enough for creative evolution.
(c.f. Bergson.)
Also show a tailor cutting out along a dotted line on a cloth of many colours
- the resulting coat is the verticalized version of the cloth.
All these things, the new physics, must be studied.
Thus the Gurukula, for Jnana (wisdom), Karma (action) or both.
Here the earth descended, the Devi did not "push it up", but she caused them to meet. (c.f. Plato's Timaeus.)
Show a thread descending and something ascending, then a vague horizontal axis or "world ground" is formed. How to show this?
The colour solid: there is a terrible potential seed in the Devi, in a dark chamber with a diamond-like brightness within the darkness; again this is Double Negation.
Woman represents death, and death must be transcended in order to live.
This side of woman must first be understood, c.f. Bergson.
See the neutrino, and how it interacts with the proton and the electron.




Ariadne's thread descends and meets the ascending, and the horizontal line is vaguely formed. Bring the horizontal axis from the periphery from whence it can meet the vertical.
See the Meghaduta of Kalidasa; the fluffy hair being blown away from the cheek.
The device is continued from the boar and tusk of the earlier verse.
Bring it back and, from the periphery, we can give to the horizontal axis some of the reality of a cutting, hard and sharp universal concrete.
After giving a lot of importance to the double-dark spot in the crystal it ascends to meet the descending thread and the horizontal inserts itself from the right side.
Finally, the magenta glory remains.
See verse 27 of Meghaduta for support of the horizontal axis.


This is a fitting of the components into a total structure, so examine each of them and see where they belong. They must all join together in the heart like spokes in a hub; mention Eliphas Levi, Aleister Crowley, just to mention them.
Bring in double correction, back-to-back, the Upanishadic bird whose head is light and whose tail is Brahman, right wing one thing, left wing another.
Also bring in some other attempts to show the same thing; the hanged man of the Tarot etc.
Nomenclature and Taxonomy: you have to give names to things.
What is the methodology? Examine the epistemology. Distinguish properly the lines (structure), and the names (categories) for branches of knowledge.
c.f. Bourbaki, de Broglie, de Touche Ferrière etc.



Bring out the difference between a man who wants enjoyment in the Vedic sense and a real absolutist. But if you understand the circulation of values within the Absolute - if they worship the Absolute, even without being conscious of it, it amounts in principle to the same thing. c.f. Gita: "Those who worship me, even with wrong intentions, are as good as far as they go".


So this enjoyment is not excluded, but one can go further; from the taste of a banana to the taste of the Absolute. The latter includes the former: "worshipping Me" is the goal; if it is not perfect, we can worry about that later. If a Sudra (low-caste person) can enter heaven, then a Brahmin can also enter it. It goes without saying that some worship is better than no worship. The lower worship is all right, there is an intention to do worship, and it is better than something worse. Bring out Maha Bhoga ("great enjoyment") which implies some element of absolutism.

Show a man meditating with a rosary on the Numerator, and an Agnihotram (fire sacrifice) and a cow on the Denominator: two circulations, merging into a greater over-all circulation. The Maha Bhogi (great enjoyer) thus involved, even unconsciously, participates in the over-all value. Karma and Jnana ( wisdom and action) are put together without contradiction.
Abolish the cow and the rosary, and let the flame come into the forefront, then give magenta glory and a repetition of the theme.
You can put anything at the Omega point, as long as you can cancel: 3/3, 4/4, 7/7.... Here, let a Sannyasin teach this as one step further than mere enjoyment, which is "Bhoga Rasika": this is "Maha Bhoga Rasika" - great enjoyment - he corrects the Brahmin.


Parity - the sun and moon as twin breasts; in pure value terms they fall into the same vertical axis. Horizontally they represent the breasts, the structure has to be ontologically valid, going from what we know to what we do not.
They have perfect reciprocity, complementarity etc.
Above, the vertical and horizontal versions exist without contradiction,
the bilateral symmetry of the two breasts is not contradictory to the sun and moon, which have a vertical status: turn them 90 degrees and make the Devi with an actual body.


Abolish colours for Taoism, change to dots and lines, with dark and light lines, until she is made pure by the influence from the touch of Shiva's trident. Let the trident be just a thin line above her head; her body derived from that, then a verticalized sun and moon turned 90 degrees and descending to form her breasts.
Let her lower half be purified by a figure-8, becoming wholly illumined,
then show an amethyst quartz with light and dark sides cancelling out into neutrality, finally becoming grey.
Both persons become equally immersed in transcendent bliss.
(Keep in mind parity, reciprocity, complementarity etc.)
Equal bliss must be shown in terms of a magenta glow
- frequencies spilling out
- Ananda, with outlines of Shiva
- Parvati (Yin-Yang symbol) brass (?) and the magenta waves flowing around them.


You can have a full-dress participation of Yin and Yang.
Show the interference of two wave-lengths, making various figure-8´s, finally merging into one.
You can show an embrace from Kalidasa's Kumarasambhava here.


Introduce stratifications of the elements represented as laying out the Chakras.
The Devi is integral to each Chakra. Show a man meditating and each of the elementals as a locus within him: mind (without light), filling consciousness with alternating circulation between desires etc., also sky, wind, clouds, water, earth.
A schematised abstraction of Kali Natakam ("The Dance of Kali" by Narayana Guru) can be shown here, in outline; coloured lights only, the real dance having been shown already.



Here the chakras are dealt with in the next 10 verses and should be treated together. Play with light and brilliance. Follow the text. It is all camera work.


Let the partridge drink the moonlight like lemonade through a straw; it is filled with light, as a man who meditates is filled.


Two swans are drinking from a lotus-cup within the consciousness of the great ones.
The Denominator is being sucked up by the swans which produces the purified Numerator form of the arts.

Show the parity of the swans.


The fire of destruction cooled by the Devi is verticalized here.
This is reciprocity and not parity.


Dark and rainy with a lightning flash, then the rain cools the hot earth.
The difficulty here is the laser technique for the maturation of colours.


Show the seven dances, as positions, with Shiva and Parvati as the parents of the world. The first is brilliant, the second fluorescent, the third are the swans, the fourth is the fire of doom, cooled by her mercy- moist regard; a dark cloud, lightning, Indra's bow.
A review of elementals entering into the seasons; first a vertical series of elementals glowing; then the six seasons are enumerated and given content; bring out the cancellation and compensation of factors in each verse.
For example: the consciousness of the Chakora bird is the Denominator;
or rain and fire cancelling out;
In the last verse, we have parity.
Balance the factors at every step.


VERSE 36 (continued)

The Devi is freed from necessity by going down far enough on the negative side: this is a double negation of necessity.
Extract the square root of minus one and what do you get...(see below)
The Yogi meditates on the Ajna Chakra, the pineal eye, where Descartes says the soul is hiding.
This is the point stimulated in Khecari Mudra.(see Science of the Absolute - commentary to Nirvana Darsana)
A Mudra is a psycho-physical attitude.
Yoga is a discipline before dying.


The mind is a functional unit. "You are the mind…"
Then we have, in descending order; sky, wind, charioteer, water, earth.
The Devi has only a manifest form, she is not a mathematical parameter like Shiva.
This descent from mind to earth embodies the method of Vedanta.
The parameter goes from the psyche (mind) to the physical (earth).
Thus it is a psycho-physical abstraction.
Then you can include as many stable points or chakras as you like.
The sky is included not as a physical but as a psycho-physical entity.
Shiva has no manifest form, but Shiva and the Devi are equal vertically by complementarity.
The ovum grows into a manifest form, not the spermatozoon.
The manifest form is all negative - verified by science.
"Mental bliss substantial" is the "thinking substance".
"…triumphant rule…" - this happens when the Devi adds the Numerator side of her husband to her own negative horizontal manifestation.
Here she wears the crescent of Shiva in her hair.
The beautiful colour magenta is real and substantial like the Devi's form.
Even after the descent, nothing is subtracted from the Devi.
" Every beautiful girl is mind-produced by some god on high."


Shiva is shining in your willing centre, schematically.
(Before you die, study this and be prepared to die properly.



"Sky-generating": this is an ascending Chakra.
The Devi has parity of status with Shiva.
The light is like a fluorescent tube light.(Moonlight).
The female partridge is the Denominator enjoyer of Numerator moonlight, with the enjoyment of the bird as a factor.
Meditation on this Visuddhi Chakra on the Numerator side gives the Yogi the joy or bliss of the female partridge on the Denominator.
Shiva is better when vertical, the Devi is better when horizontal.
In what sense is it "sky generating"? In the sense of Kechari Mudra.
It is not sarira that moves the hand but the sariraka.
You just change the perspective, do not take anything away from reality.
The soul of man extends even to the fingernails, there are no grades of reality.
There is only one reality.
Brahma Sutras Shastra (illegible, ED). Take your stand here; first agree that the Rishis cannot be wrong, for they have no axe to grind. They always have their wives near. Their greatness is to want nothing and to live in the forest.
"When people who do not want anything tell you something, you can be sure that it is true."
Imagine yourself as the Denominator partridge enjoying the Numerator moonlight.


They are just poets in this world, but poetry must reveal the Absolute, so the great poet is also the great seer.
What you see objectively, (Pratyaksha, the evidence of the senses) with your eyes open, and what you see with your eyes closed (poetry) come together and you get a Chakra.
Are the twin swans real? Are they Shiva and Parvati? Sankara does not care if you call them gods or not, thus he is not essentially a theologian.


Do not be orthodox or heterodox, but neutral between the two.
The two swans combine the Numerator and the Denominator, pure art is the resultant of cancellation between these two values in life, both horizontal and vertical.
The lotus represents a locus where vertical milk and horizontal water participate.
There is an exchange of values there, the rays of art emanate from that point.
Thus, this is not just an abstract picture of a Chakra. Come near to a normalised poet's view, as in Shakuntala, Urvasi etc.
Why 9 rasas (aesthetic attitudes)? Because if it were 10 it would be a straight line at right angles and it would cancel out.
If it is perfectly at right angles you will not see any colour.


The fire of doom is at the O Point, below that is the Swadhisthana.
Put in the feminine principle to partially counter the heat of doom from Shiva's side.
Early spring adds a cooling touch to the Numerator fire.(c.f. Kalidasa).
Cancellation is the joy.


A thunderstorm verse. Certain contemplatives take refuge in the Manipura;
it is meant for one who requires hard meditation: a bandit, criminal or pirate.
It is for Sanyasins with too much Denominator who want to raise the Kundalini - not for those like the Guru, who is a round, comfortable Ganesha.
Too much Denominator needs some hard practice. Thus normalisation at a very low level. The degree of perceptionalization is left up to you.
You can have as many infinities as you like, one for each separate context.


(The first 41 verses)


The key to the whole work is VERSE 7, another key is VERSE 40.
There is the question of the number of Chakras: see VERSE 9.
In all the verses, the following prevail as rules:
1) No unilateral approach.
2) Reciprocity, complementarity, etc.
3) (omitted)
This can clear all the asphyxiation surrounding sex in the world.
Do not put obstructions to sex; the only result is oppression and ugliness, you cannot suppress people.
The Devi is reduced to Aruna and Karuna.

The first part of the work is mainly psychological, close your eyes and see Chakras.
Drk-drshya - without the seer there is no "seen".
Without consciousness there is no reality.
Without the observer there is no philosophy.
The observer is the Self, the observed is the Non-Self.
The question is how to give dignity to the contemptible lump of flesh called woman.
She is a receptacle for the seed of a man, a lump of fecundity.
But the little girl who wants to have many babies runs away and says:
"You can't catch me!" - this is something spiritual.
Jupiter = Dyaus Pitar = Shiva. His story is well known.
The Numerator is bad and the Denominator chorus is good.
When Prometheus is chained to the rock: he wanted to give something (fire) from the Numerator to the Denominator.
De Quincey, in the "Confessions of an Opium-Eater", has three goddesses, one is Dolorosa sitting with patience in the hospital waiting for someone to die. There are two others, one of terrible aspect.



"Your Muladhara" is at the base of the vertebral column.
Samaya is the denominator Goddess of the same context as the Devi, while the Devi has both Numerator and Denominator.
Shiva comes down to dance with Samaya,
all is taking place within the Devi Herself.
Samaya is the negative part of the vertical axis.
Female mercy is operating here; kindness below, conferring the renewed status of having both father and mother.

The dance consists of all the nine aesthetic attitudes (nava rasas).
On the perceptual side, the Devi is called Samayaa, on the conceptual, Samaya.


"Your Muladhara" - put it in the lower part of the Devi.
I meditate on it as located within the Devi.
The denominator Samaya is called lasya parayaa, meaning her dance is Lasya.
Maha Tandava - the great high-step dancer (Nataraja) descending from Chidambaram.
In this verse, he is a new Self like the leaves, while she is the old body like the roots.
Of the Nava Rasas: there are 9 on the Denominator, while 18 on the Numerator in the previous verse.
"Nava" means "nine" or "new".
Shiva is acting out all the 9 Rasas as he descends through the vertical axis.
(Maha Tandava Natham = actor).
God is acting everything that all men anywhere have to act.
The Absolute Devi says: "Let those two who are dancing be born again."
The Devi is crying from pity and kindness at the destruction of the world.
By electromagnetic pulsations the world has parents; think of yourself:
you were born; 9 months before, your parents were copulating; who arranged all this?
It is the Devi who is weeping, not Shiva, who is just dancing.



The middle eye seems magenta-tinged by jealousy. The eyes are open very slightly, the half-shut eyes indicate that the Devi is full of horizontal eroticism; asking someone to fall in love with her.
But the vertical side of the same Devi is represented by the magenta-tinged third eye.
Natural eroticism from the Denominator side meets with Numerator chastity :
we have here the cancellation of two delicate tendencies.




The eye is a golden lotus-bud when the Devi is feeling good, not erotic.


Magenta eyes come when eroticism obtrudes into the situation.
They can be treated together, using the same face throughout:
it requires a lot of polish on her face, like a varnished door.
(With double negation.)



Show a dancing girl in the background of the Devi's face, with the rays of the nine Rasas, enacting sentimental love, jealousy, etc.
Saraswati's face has structural lines emanating from it.
The face belongs to the soul, the soul is capable of 9 aesthetic attitudes (Rasas).


The Devi is the daughter of the mountain clan, and cannot be coquettish in a cheap way.

She has to use her eyes in a most subtle way; Her coquetry must be just as strong as Shiva's complacency.
There is homogeneity of status; extreme horizontality to compensate for his verticality.


The Gods are being created by the "tri-colour distinctness" of the Devi's eyes, corresponding to the 3 Gunas (nature-modalities).
"Bereft of passion" means half-open like a Japanese fan.
The Gunas should not be too pronounced, not too much like an effect on the Numerator side,
but half-way down the Denominator side, in between, contemplative.
The gods are nothing but horizontal functions verticalized by abstraction and generalisation.
How to see vertical reality in the horizontal face of the Devi.




Bathing in the confluence of the three rivers washes away your sins
- cancels Sattva, Rajas and Tamas (the 3 modalities of nature) and purifies you.
"Sinless" - when the Gunas are divided, there is sin: when they are joined together and verticalized, there is no sin.
So there is a structural secret to be brought out.



What we have here is the Sharira Vijnana Vada of the Buddhists or the "action cinématographique" of Bergson.
It is a doctrine acceptable within the context of Maya.
We have the creation and dissolution of the world in a constant split-second continuum.
The world is an illusion presenting itself in split-second pictures, looked at from outside.
But as a flux, from inside the Devi, there is no such alternation.
In the philosophy of Madhva duality persists.
With Sankara we have a figure-8 dynamism between the counterparts.


Sapharika fish. A vertical change and a horizontal change.
Parna means "leaf"
Aparna means "no leaf".
This means an underlying structure is going to be revealed.
The horizontal movement of the eyes becomes
.two gleaming lines.
Lakshmi wanders in the daytime in Ooty.




Two figure-8's, horizontal at the eyes, vertical for Lakshmi.
Aparna means "leafless like a twig or branch"; ramified sets.
There are two sets of values shown here - one intellectual in the eyes of the Devi, another more ordinary, concerning wealth and everyday phenomena.
The Devi is horizontal here because vitality is an essential ingredient:
the horizontal is not bad when it is very, very thin.
Gossip is also horizontal.
Think of polar co-ordinates inside a black box: the structure of thought conforms to a geometric figure.
The structure of the machine and the structure of your brain have something in common.
Travel from the eyes to a river with fish jumping; then back.
Then show a lotus pond with Lakshmi coming out; two figure 8's.
Do not try to explain these verses didactically, go to Belsen and Whitney Brothers.



Here we have a black box structure with a mesh structure in perspective and logarithmic spirals.
A small vertical figure for Lakshmi, and a longer horizontal one for the Devi.
Polar co-ordinates and ramified sets with the Devi and Lakshmi superimposed.



"With your long-extended bathe with mercy..."
The devotee asks only for a side-glance, not a direct blessing.
"I am not fit to be regarded as an equal in a vertical sense". (c.f. Abelard and Heloise)
Negative humility is brought out, giving a certain dignity.
Karuna Kataksha (a side-glance of kindness)- all love requires bi-polar recognition.
The side-glance is enough: a bi-polarity is established between you and God.
There is "no loss to you", it is qualitative and not quantitative.


Two arrows at right angles.


Here there are two war-chariots: show Eros' one coming out of the Devi's face and going back again; another chariot, Shiva's, descending from above.
The shine on the Devi's cheek comes from the sun kissing her:
It has the pearly lustre of a 1000 suns .


Sarasvatya suktir: the medium and the message with a line separating them. Saraswati is the message, Mukambika (the Devi as the "silent mother") is the medium.
The silence of Mukambika has a terrible power.

We are living inside a conic section, the universe moves in parabolas and hyperbolas

At whatever level you take a cross-section, you get the same structure.
Draw a vertical axis up from the Sri Chakra to Shiva, he will come down and lift the handle of the mirror of the face of the Devi.
Then Ganesha and Skhanda will be born in the lotus-pond.
Shiva will not copulate, but only gaze with his third eye.



The flagstaff is a conceptual symbol of Shiva, after respiration, the nose ridge gives fruit to people waiting, like a tree.
The Numerator contains the fruit of the Denominator.
The pearly lustre on the fruit is the answer to a prayer.
The Alpha and Omega Points are connected by powerful electricity like an atom bomb, which is the principle that answers prayers. Breathing takes place in the nostrils and that is where the fruit ripens. Then it falls to the devotee waiting below. "The quality of mercy is not strained..." God will surprise you with a package.
This verse brings out the structural language that is needed to correct the one-sidedness and confusion of tongues implied in the Tower of Babel.



Prayer comes from the Denominator side, and the fruit falling from the tree is the answer of God. Connect the two sides together by a tube, which is the nose-ridge: magic is taking place there, prayers are being answered.


The partridges have had too much sweetness of Numerator moonlight.
On the Denominator side is a more "shaded" moonlight, which is like a sour brew.

Inside the bird, the colours change as she changes from sweet to sour; consciousness is changing, the same interest cannot be sustained, some alternation is necessary.
Narayana Guru: every pleasure in this world is due to alternation.
You cannot go to the prostitute every night, it requires correct phasing:
allow for the figure-8 operating between the two sides: do not break your nervous system by one-sidedness.




There is a dialectical interplay of colours - one conceptual, and one perceptual.
You cannot tell which one is more beautiful: "Is it the truth? The lips?"
Anyanya (?) Adhyasa: One cannot tell - that requires much explanation.
There is a figure-8 dancing there.





Attribute and substance are juxtaposed and cancelled out at different levels.
The real lotus is superior to the paper one,
but every shade of difference is cancelled out in the vertical axis.
"Uma" (a name of the Devi) = "no equal to you, unique".



The same tongue-tip is used both for the abstract (meta-language) and the concrete (proto-language): perceptual and conceptual meet there.
Events take place at three levels:

1)Repetition of the word
2) Placing of the image
3) Throwing of red flowers.



Subrahmanya refuses the camphor bits belonging to the negative side.
The warfare takes place in the mouth of the Devi, two rows of teeth grind the warriors without distinction.



Camphor is a pagan factor; "I am glad that you offer it, but I am a Brahmin on the positive side, and born for the purpose of fighting the Asuras (demons) on the negative side; I have agreed to fulfil a certain function and cannot compromise my position".
MacArthur was appointed to fight in Korea and had no choice anymore; if he did not do it, someone else would.
You have a certain function within the Absolute, do not compromise it.
The Devi can abolish paradox because she is the Absolute, but it is not Skhanda's job to abolish paradox.
He has accepted a function, and has to fulfil his svadharma, at a certain epoch in a total situation.


I am singing, and my song is both from the Numerator and Denominator sides: but the Vina (stringed instrument) is only from the Denominator side, so she covers it to silence it.
"Shut up!" is the secret. There is a line between percepts and concepts, the Vina is only half the situation, but the Devi is both sides. It fills only half the circle, while the Devi fills the whole circle.
Nama-Rupa (name and form) cancel out into the Absolute.


Complete Vedanta structurally understood: the father sees his daughter in the normal, horizontal way; but Shiva sees his own Self reflected in her face.
One is static, the other dynamic.
The Devi is the Denominator side of Shiva, as he recognises.
This is complete cancellation of Numerator and Denominator.

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



The thorny bristling in the lotus is like the special thrill felt by Parvati when first embraced.
Underneath there is the vertical axis of the lotus-stalk fibre.
Horizontally there is rejection: "Leave me alone", but vertically she is satisfied and related in an absolute manner to her husband.
Nityam means she is eternally embraced: show a lotus pond with bees embracing lotus plants; shift to the crescent moon, snake-garlanded Shiva.

Anyway, there are four layers: 1)Bristles
2) Pearly necklace
3) Shiva's moonlight
4) (blank)



"The three lines in Your neck…": a beautiful woman has three lines in her neck, representing the three Gunas (nature modalities). Shiva is beyond these on the Numerator side.
Conceptual and perceptual aspects are again brought together.
Let her play the Vina and frolic on the three lines.
The marital string is intended to underline the participation between Numerator and Denominator.
She is singing in praise of her husband, when the Numerator is supplied, the thing becomes sublime.
The black string is the conceptual version of the three types of musical keys.



Brahma has his fifth head nipped off. Mrnala (lotus-stalk) arms are neither conceptual nor perceptual.
There is a tragedy between name and form, concept and percept.
The Devi bridges that gap.
The tower of Babel is the same story, just by building a tower, your spirituality is not complete.
God says: "This tower has no meaning to me - put together concepts and percepts and I will be satisfied."


Brahma is too much of substance to cross the tragic line up onto the positive side.
If the Devi's hands are neutral on the Numerator side, it is because her behind is understood to be on the Denominator side.
"Let my four heads be neutralised and protected by your four hands."
The thinking substance, which is like a lotus-stalk: the Devi's (illegible?)

Employ 4 or 5 verse clichés as a punctuation between verses.



The reputation of Shiva is very thin and spreads towards the Numerator side.
There are supposed to be pearls in the frontal knobs of an elephant: it only means that on the numerator side there are certain values - fearlessness, reputation, etc.
All these exploits of Shiva are placed between the breasts of the Devi; there is a cancellation here: killing the elephant is inserted into feeding the baby.
One pearl is to be seen glowing at the O Point, or with a dancing Nataraja there.



Without the Denominator, there is no Advaita, this is the significance of dravida shishyu (the "Dravidian child" of verse 1).
By this verse, Sankara is able to see the light at the other end of the tunnel.
"I worship Saraswati, but I am also creating a Mukambika (Devi as the "silent mother"), without which there can be no Advaita. Mukambika says: "Shut up!" "
He is thankful, not for salvation, but for becoming a real poet.
Put a figure-8 where the mother offers the breast, and the baby wants to suck it.
She is purposely bending to feed, with kindness in her face.


Eros dives into the Devi's navel after being set on fire by Shiva's ire, because he was running peripherally, playing tricks: if he approaches Shiva vertically, he will fall down.
This brings out the Rahman-Rahim aspect of the Absolute {see Quran}
Cruel numerator, kind denominator


This is the powdered or pulverised world of the Monde Affiné.
There is no major difficulty in its treatment.


A petrified Gangetic whirlpool. There is a twist at the centre of life itself,
the waist of the Devi is to be abolished mentally



A tree on a collapsing brook-bank. Make a river flow into a ravine, and compare to the lower-loin part of the Devi.
The banks are eroding on both sides, and on one of them is a tree, precariously standing.
There is a precarious part of a woman's body where the child is born:
inside the mind of every woman there is this uncertainty.
The tree is about to fall; the child is about to come out: "My father did not even know me, and my mother could not do anything."
Verticality is life, and it is about to fall down; that is why the baby is meditating.


"Binds with three turns of a creeper..." Eros is the functionary up to that point, all horizontality is in his charge; and that is why Shiva will not come there.



Parvati's hips are heavy - they are Space or inertia.
Shiva's hips are thin and Time-like.

There is transformation and contraction here à la Einstein, Lorentz, Fitzgerald.
A certain negativity and heaviness descends here as conferred by the Numerator.
Weight and extensiveness are three-dimensional when they come to Parvati, but they are fourth-dimensional when we are dealing with Shiva.
They are again absorbed into higher mathematics.
The Devi's hips are a greater obstruction and hide the concrete world below:
then by meditating on Shiva she ascends and the heavy hips gain a lightness as far as the Devi is concerned.


Obligations come at the knee level. The lower level need not be cancelled by the higher: the knee level can co-exist with the highest philosophy.
It does not hurt her, but only glorifies her, she knows the way of behaviour proper to a good family.
The Absolute Devi kneels even if there is no need: she verticalizes herself.
Verticality can depend on straightforward affiliation.



This takes place in the world of obligations and necessity,
include everything and do not be an upstart and a cheap fellow.
Her thighs are elephant trunks from the Numerator downwards,
and banana plants from the Denominator upwards.
(Firmly supporting = planted). The two tendencies cancel out.
The frontal bumps of the elephant are brought in as a Numerator factor to cancel against the Denominator callosities.
The Devi can be constructed of horizontal lines at different levels, but she will fall apart without the vertical correlating principle of Shiva.
Without Shiva there is no Shakti.



The toenails are arrowheads which are sharpened on the whetstones which are the crowns of gods. Here poetic fancy overleaps itself.
The head of the total situation is a hydrogen or helium flame which can sharpen her nails.
Again there is cancellation between Numerator and Denominator factors.
Make a quiver into pillars into legs with arrowheads.
Let Eros not find a place to sharpen them, until he finds the crowns of gods.
There is a polarity between ontological and teleological richness.
Let there be no distinction within the Absolute; this is an axiomatic truth.


Many levels are cancelled out here, including the top of Shiva's own head.
Ablution water is poured over the head of the idol, down to the feet, which are placed on my head.
The feet are also placed on the place where Vedanta stops on the Numerator side, marking the crest-point of scriptural wisdom.
All hypostatic and hierophantic factors are linked together by the vertical axis permeated completely by the magenta colour: all vestiges of difference are abolished.
Magenta paste is the participating medium.
Sankara inserts himself at the bottom of the vertical axis for the Devi to stand on his head.
He wants to go from the feet up to Tat Tvam Asi ("thou art that" (the Absolute)) by a certain verticality called humility.



Words of worship to the Devi's feet; Shiva is jealous of an Asoka tree because she kicks it.
See Malavikagnimitra of Kalidasa for the same legend. Some hot stimulus from the leg of a beautiful princess is needed for the tree to flower.
The mango tree in the Nilgiri Mountains is benumbed by cold and cannot flower.
Shiva is jealous of a plant - he wants all the affection for himself; he does not want the Devi to become too negative.
"Spoken words" are offered to the feet: two sides are meeting: the spoken word and the visual side.
There is an alternation between spoken words and meditation on her feet.
Temple ritual meets Mantra. When they come together you get the Lahari.
There is a cancellation between the feet pleasing to the eye and the muttered prayer.
The wife wants to hear, in so many words: "I love you", this adds the Numerator.
The spoken words on the Numerator side are very important to the Denominator side.
First, make this into a matrix, neither conceptual nor perceptual:
only then can you fit in the jealousy of Shiva.
The "twin feet" are important, it is not just a casual reference.


The biological world is below in the scale of values.
Shiva is jealous because the Devi becomes too negative:
cancellation should take place from above, not from below.



Gotra skalana: the Devi kicks and Eros celebrates with the jingling of bells in a circle. The kicking also takes place in a circle.
Kicking is justified in the rarest of absolute circumstances: when the Numerator shows a lack of respect for the dignity of the Denominator.
It means that the son of David and the son of God are the same:
it make no distinction - they are equally dignified.


Make it into a tambourine, in which circle the Devi kicks Shiva;
Eros applauds with crescendo jingling and drumming.




The epistemological status of the four elements of the quaternion.
"Lakshmi's bowl overgenerous": on one side put a Jaina or Marwari religious person who accepts the Hindu Goddess without qualification.



The pair of feet are better than the lotus representing Lakshmi's bowl or seat.
Cancel the duality between the feet, which are both transcendent and immanent.
The Advaitic God is a wonder and a paradox. "What is the wonder here?"
Do not be surprised that there is a wonder.
Put a lotus between the two heels to mark the upper and lower levels:
but only one of the heels is touching the ground, the other is raised slightly:
thus suppleness is retained even in the universal concrete.
This alternation is most important, as in Nataraja.







This rhythm applies particularly to the sex organs of both men and women.
"How did you treat the twin feet as singular?"
"Shut up! I told you it is a wonder."
The feet are better than a lotus, as a Guru is better than a book or idol.
Worship the Devi, not a lotus.


Sankara wants to cancel the whole thing out into a beautiful gem.
Read with VERSES 71, 88, and 89.
Reduce the horizontal alternations into a vertical, and view it as a flux; this is the methodology to be adopted.

SLC1B - P57


Reputation is on the Numerator side, residing in the heel of the foot.
When the star Arundati is visible to the wife, her vitality is all right and she can marry.
The secret of the feet is the left-right alternation;
one foot is raised, both are not on the ground.
This is a structural secret, as in Nataraja.
He is telling you to let the sex life alternate as in a beautiful figure-8.
The fallopian tubes also operate in a figure-8.
You can almost see the Nataraja dance in this verse.
There is a pun here on padam and apadam (danger) which cannot be put into English.
The syntactical structure contains secrets of structure.
Also prapadam: the "pra-" underlines the meaning twice in the same direction.
"Brought from danger into safety" - Her foot, as a substantial thing, was in danger of clashing with the hard kitchen stone. Safety is attained by virtue of the suppleness of the leg.
"Tortoise-shell hardness" is ontological: there is something hard in her leg.
The first quality for a woman is to have a good reputation: "A great name and a great beauty"
The Gita also places reputation at the head of the list.
The foot is the seat of this repute, as the ontological basis of beauty.
The anklets ring out, as it were, her reputation on the Numerator side.
Think of her as dancing on one foot.
How is it that the universal concrete foot could be made supple?
Shiva lifts it with two hands to overcome gravitation and inertia.
The reputation on the numerator side cancels with heaviness at the ontological limiting point on the denominator side.
There is a paradox between solidity and suppleness of the foot:
one foot lifted and one solidly on the ground - there is an alternation between them.
The tenderness of Shiva's heart corresponds to the suppleness of the Denominator.
Another paradox is attempted to be abolished - "what a wonder!".
There is a dancing figure-8 between the two sides of the paradox.
There is a trans-personal and inter-subjective exchange of values in which airy and solid things can co-exist. The feet are both hard and the seat of her reputation.
There are paradoxes at different levels; here ascending, in the previous verse, descending.
"Through time and space..." Take... (illegible)

SLC1B - P58

The Devi needs contact with the horizontal principle of the stone;
it keeps the wife from becoming hysterical.
The lifting is not a joke; it requires the two hands of Shiva to do the job.
The paradox between ontology and teleology is melted from the Denominator side by the Universal Concrete; from the Numerator side by the kindness of Shiva.
The Numerator corrects the Denominator and vice-versa.
Finally, Shiva loves the Devi, and the picture is beautiful.
Shiva is the contact between reputation and the Universal Concrete.
All rigidity yields to the kindness of the Absolute.
Note the four kinds of feet: Padam, Prapadam, Apadam, Vipadam.
Two legs dance Lasya, two dance Tandava.


"With fingernails of the lotus hands of celestial damsels.."
The foot is again the central subject, planted like a tree.
Heaven-dwellers want only ice-cream, finger-tip dainties of magenta-tinged moonlight of the theoretical order of beautiful gifts.
But the poor below need more ontologically rich things: kanji (rice gruel) and tapioca (manioc).
Thus the fingertips are at the Numerator and the feet at the Denominator.
The Devi's feet are well planted - like a tree, only the fingertips are celestial.
Thus the well-planted feet are mocking the trees of heaven.
The feet give benefits to the poor people on the Denominator side.
It is also the feet which should be worshipped by the heaven-dwellers, even though the fingertips belong to that side.
The Devi is two-sided; she does not ignore the heaven-dwellers.
But her feet are like ordinary trees, which mock the celestial ones, as the buffalo mocks the Brahmin cow. She is Chandi.
Again there are layer upon layer of multiple metaphors; he is trying to abolish paradox by getting you confused.
If you know how to meditate on the root of the tree - put a circle around the Devi's feet - you get the appropriate benefit, whether god or indigent.
Be sure to make the legs like those of a working girl.
It is the same Goddess in both cases, neither upper or lower class.


Benefits are conferred both upwards and downwards.

SLC1B - P59


"Let us die like a bee immersed in the celestial bloom that is You".
The feet are below, at the lowest brightness,
above are celestial blooms with blinding light.
At the central core of the value called the Absolute all that remains is the empty body and the six insect feet.
The attraction between the bee and the honey is a vertical diving into the total situation, in which there is a cancellation between the personal and the universal soul.
This is the image chosen by the Rishis.
Final salvation, Sayudya, is only this: the tiny negative body of the bee is cancelled against a single positive drop of honey.
This is a favourite Vedantic example of cancellation, almost mathematical, excelling in the simplicity of its appeal.
To the needy She gives benefits as needed or requested - not more.
At another level there is beauty radiating all around.
At the third level are clusters of celestial blooms at Your feet.(An ontological reference.)
Sankara wants salvation at the Alpha point, not in heaven, away from the common man.
I want to kill my individuality at a very ordinary level:
Buddhi, chitta and ahamkara can be absorbed in the interest of the subject called the Absolute: all that is left is the dry shell and the six legs of the bee.


Absolute Beauty is here revealed in a very humble occupation.
The sub-human world is brought into the world as Gurukula disciples.
The Devi has patience, she is not hurried, what can she do?
The swans will not leave off.
The Devi becomes a glorified kindergarten mistress.
This is like Dilipa following the cow in the Kumarasambhava of Kalidasa;
the Absolute can be found in the simplest of relationships.
c.f. The preparation of a meal, from the Dasakumaracarita.
Homeliness, condescending to the sub-human world; sense of leisure:
the cygnets will not go away.

SLC1B - P60


"Gone as they are to your couch-hood..."
What is the justification for inverting the gods?
There is a principle of inversion in the Absolute, like the hanged man in the Tarot pack.
Shiva can kill Eros, but he is also the embodiment of erotic bliss.


Sankara gives the servant girl the last of glorious places as the Absolute Goddess.
She is a plain girl, no flourishes or decoration: Sankara should be worshipped for saying this.
The Taj Mahal is decorated, but a hut is also beautiful.
She is saving some value from the Denominator side, not found in Shiva:
that value is called Karuna or compassion, and she is also Aruna or magenta inside.
"Shiva's world to save.." by supplying Karuna on the Denominator side.

SLC1B - P60


"The dark zone of the world is musk..." Kalankah kasturi..
Kasturi (musk) is the most volatile of perfumes, as costly as gold;
no perfume is more effective.
The Devi uses up some camphor-like effluvia by her pleasures every 24 hours and this has to be replenished by Brahma, the god of creation, himself.
The moon's phases are spent daily, like the camphor.
Certain kinds of essential nourishment have to be supplied to a woman's body; this is not ordinary metabolism, but of a very subtle order: not gross or physical.
What is seen in the sky becomes on the Denominator side a black jewel box with something bright and beautiful inside.
This puts into relationship the inner world of the Devi with the outer world of Shiva.
The cosmic principle of creation restores spent animal magnetism daily.

SLC1B - P61


"You are an uncompromising Absolute Goddess, Parvati, the real Absolute",
this is no numerator Brahmin girl.
Do not mix this up with benefits in this world such as psychic powers or Siddhis.
This is Advaita Vedanta with no compromises.
Sankara says: "I am interested in wisdom, this is too difficult for you, go away!"
This is a tragic touch.
Show the gods taking some rejected articles from outside the Devi's door.
They do not go inside to see the verticalized Goddess in her Glory as Shiva's consort.
Ritualistic Brahmins go round and round the temple without ever seeing inside.
Let there be Sankara inside the temple, seeing the total vision.
The fickle-minded cannot attain to this; there is no Devi sitting there, there is only cancellation between two points. Unsettled minds are crying, how can they meditate?


The Devi represents ultimate verticality and constancy, inside.
The final, ultimate meaning of constancy (sati).
Constancy is a vertical axis. "Peripherally, you can go on flirting with others ".
Anybody with wealth must be considered symbolically as the possessor of Lakshmi. How is it that Hindus are not shocked?
How many poets do not woo Saraswati?
The meaning of the word "constancy" results from the cancellation between husband and wife.
Everything is relative, except for the bi-polar relationship between Alpha and Omega.
Produce the line upwards to the moon and downwards to plant life.
Understand this cancellation of two principles united by a parameter, philosophically - without cosmology, theology or any conditions.
You have to say "Allah, al rahman, al rahim" (the merciful, the compassionate): cancel them out and you get the great God, beyond all representations.
Her bi-polarity is so strict that she will not even embrace a favourite garden tree.
All other pairs are inferior, the Devi's constancy passes through heaven and earth.
Do not make any compromise at any level.
No reciprocity with anything besides Shiva, not even with a garden tree.
It is horizontal, they can only be cancelled by a pure mathematical parameter.

SLC1B - P62


Contact with your breasts is contact at the horizontal level, the last vestige of eroticism is cancelled.
What is left is almost nothing, but still something: keep some link of interest, as thin and fine and living as a lotus-stalk thread (mrinala tantu); do not abolish the living link.
You can see the Absolute with bare eyes in the uncompromising love of a wife for her husband, even when he hates her and is cruel to her.
Show Lakshmi being nice to a moneylender, and Saraswati to a poet.
Then show Shiva's descent as a Sannyasin, bad-rapping Shiva, and Parvati will not stay around to hear it.
You can put structural references from bottom to top; if you do not like breasts at such a low level, just put a dot there and say it is the point of insertion of the vertical into the horizontal.

SLC1B - P62


An improvement, perhaps, on the content of the previous verse.
Some people call you Turiya, the Fourth State of consciousness, abandoning all imagery and mythology.
But I call you the wife of the most high God, as Maha Maya(the great Maya)
So Sankara, in thus accepting or facing the paradox, puts the two sides together.
Maha Maya cancels out the two aspects of error and non-error, knowing and not-knowing.
At one moment there is paradox, then it dissolves, then reappears, dancing like a flame, sometimes steady, sometimes flickering.
Anything more than this is mere philosophy without experience.
Do not philosophise and omit experience: cancel them out.
Sankara is not a theoretical philosopher.
Maha Maya is a great indeterminate value-factor.
If the paradox does not cancel - just wait until it does.
Note that what may have been detracted from Lakshmi and others is returned to them here. Sankara says; "Life is a paradox and I have to talk like this; sometimes you will think I am orthodox, sometimes heterodox; both are wrong".
Turiya ( the fourth state of consciousness) is a highly philosophical notion, but Maha Maya faces the paradox.
The seasons are also quite real: do not make the Absolute mathematically dry.
Make creation real - good taste, good smell, ambrosia, golden pots, etc.
Worship God through your understanding of the content of the Absolute.
Turiya is enough for the Buddhists, but not for Vedantins.
Maha Maya is in charge of creation, with the absolute vertical dimension.
The world goes round; this is appearance; behind this is the vertical principle of the Absolute.
They are the same: Maya, Maha Maya, is even That (the Absolute).
Link Atman appearance and reality, provided by Vedanta.
The point of participation..(illegible)

SLC1B - P63


Sankara here comes out without stage-dress and has intimate conversation with the Goddess.
He wants magenta, so he is not just a philosopher.
"Magenta is real, and I want to have contact with that".


A dumb man becomes a poet and ascends from the feet to the mouth of the Devi.
True wisdom is supplied from the negative side; he does not need another Numerator to his own.
He accepts the Devi up to the O point, while the writing of poetry will take care of itself.
In poetry the feeling has to be there and then brought up to the point of utterance; from there on it is just a question of a pen scratching endlessly on paper.
Insert yourself inside the Devi, you will find restful meditation.
Show Sankara ascending up through the Goddess.
To a Vidyarthi (wisdom-seeker), everything is denied, except the seeking of wisdom.


Sankara's signature. The supplicant is all that is left: the Guru shows his bald head with " The End" written on it.

Sankara is saying: "" With words your own...." I have tried to describe you with your own words. Do not say I have written anything."