FILE SLC6 is the continuation of file SLC5, continuing here with VERSE 61.


P1 to P55 - V61 to V70

P1- Verse 61

P8- Verse 62

P16- Verse 63

P18- Verse 64

P19- Verse 65

P23- Verse 66

P28- Verse 67

P35- Verse 68

P43- Verse 69

P48- Verse 70



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

This refers to the Devi as the banner of the dynasty of the Himalayas: She is the daughter of the Himalayas.
Her nose is described as containing pearls.

There is a bamboo flagstaff. There are pearls inside, sticking to the sides.
By the light of the moon, an abundance of these fall. (Beautiful thoughts).
There are two worlds, inside and outside the hollow bamboo.

Sankara has now come from the eyes to the ridge of the nose
- described here as the insignia of the family of the Himalayas.
("...Your nose pretends to this.")
"Let it confer pearls on those who are most intimately related to You".
The breath of the Devi is the cosmic breath - it relates intimately to our own breathing.
The pearls inside the tube are value factors
" let it give whatever each person deserves, by way of merit".
These pearls drop down from the hollow tube or flagstaff.
The tube is overflowing with value-pearls.
The moon here is an intelligent hypostatic factor and its coolness or warmth causes the pearls - by some ineffable light - to fall.
This richness of contemplative value factors is to be experienced intimately.


Whether these value-factors, or pearls, are filling up from the bottom of the tube, upwards, or falling downwards from its top, the point is that there is an overflowing of contemplative value factors in the vertical axis.
The cross-section level of these pearls depends on the inhalation or exhalation of the "breath" of the moon - or of the breath of the Devi.
(The Guru indicates that this is all tentative, "do not put in the nails yet").
The Guru refers to Narayana Guru's poem, saying that the three garlands of Subrahmanya - glass, silver and pearls, are worn by him to abolish the unhappiness "which is inside me".
It is recounted that Shiva, when he was old, went to the lowly hut of a hunter to find a wife for his son, Subrahmanya - seeking the lowliest of black girls.
Hence, Narayana Guru calls Subrahmanya:
"O, you black girl's husband, please enter within me and ease my suffering
The pearls are inside the tube or bamboo or nose of the Devi.
These represent introspective values.
The tube is a vertical axis.
(Kalidasa also talks of the bamboo in the Himalayas.)
This bamboo has a banner floating high - this is one end of the vertical axis.

In the hollow core of the tube is the intimacy that will save the devotee.
"Just know Brahman, and you will be saved".
"He who knows Brahman, becomes Brahman" (brahmavit brahmeva bhavati - one of the Mahavakyas or basic axioms of Vedanta)
Joy is there as a glory - Ananda (bliss).
The moonbeams suggest intelligence. They are hypostatic.
The Devi is referred to as the "daughter of the Himalayas" - this means She is the daughter of the Himalayas as the horizontal measuring rod of the universe.
It is "intimate" because Her values are all for the Absolute and that means for each devotee.
Some of the pearls fall, due to heat, and some stick, due to the coolness of the universal breath.
This is an exchange of hypostatic values from above and. and hierophantic values from below.
The moon is presided over by Shiva.
Those who worship the Devi will have the experience of ineffable joy and "of life more abundant".

Some of the pearls will fall to the bottom, some will overflow and some will stick to the tube.

You must have an interaction or alternation between hypostatic and hierophantic aspects.
The glory comes from the Himalayas (positive) but the Devi is Dravidian (negative).
Sankara is bringing together these two factors.
If the images are fanciful, it is because Sankara is continuing the Sanskrit culture of Kalidasa: he extends it to his version of Vedanta.
Narayana Guru says the same thing as Sankara and Nataraja says it again, mathematically.
This respiration is a figure-8 - sometimes there are hypostatic value factors,
sometimes hierophantic: thus some pearls drop to the bottom of the tube
and some of them overflow at the top.



"To us, standing so near to You..." means that this is something intimate,
It is not the hypostatic banner on the positive side, but the nose, which is familiar and near the horizontal axis.
The Devi, as a flag, has both symbolic and actual value.
She will "immediately" bless the devotees.
Her respiration makes a figure 8, which fills the tube, uniting the positive hierophantic and negative hypostatic aspects of value.
Absolute value is an interplay within the consciousness, which completely fills the vertical axis.






The bamboo flagpost is Her nose; it contains pearls inside and produces pearliness outside - because of the abundance of pearls inside
- what does it all mean?
"Hinduism is all a pretence because they pretend to understand this"
They do not understand, they are telling lies in the morning, afternoon and evening.
Why pearls inside? Why pearliness outside?



Pearls are quantitative and substantive.
Pearliness is qualitative and predicative.
Pearliness, for the nose, means it is viewed philosophically.
Iridescence is false - it shows the world of appearances, a false world.
The flagpole is a vertical axis. Pearls stick to the inside through Her breathing.
From inside the pearls are real
- shut your eyes to the rainbow appearance outside;
meditate on the reality within you.




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

Adhyasa is the only way to give any meaning to this.
Adhyasa means "to attribute something to something else".

There are four factors present in this verse:
1) Bimba fruit
2) Coral which bears no fruit
3) Lips of coral colour
4) Teeth which reflect the coral colour and are ashamed.

He is cancelling these factors out against each other.
The bimba fruit is red.
The red coral is there too.
"Your teeth are white and reflect the coral colour of the lips of the Goddess"
The teeth are ashamed of being compared with the coral colour.

The magic is to juxtapose all these four with each other:
There is vertical participation between lips and teeth, and horizontal participation between bimba-fruit and coral.
These four factors are brought in only for the quaternion structure.
The teeth are ashamed because they are white and pure:
"Why do you call me a cheap imitation red?"


The delicate interplay between teeth and lips is the point here.
The teeth are ashamed because their colour is borrowed from the coral.
Magenta glory results from this participation:
this participation of the two colours is like the participation between mind and matter.
The teeth are hard and have a borrowed colour
the lips have their original colour: this is "bimba tad bimba pratiphalana..."
Sankara gives this much importance because it settles the question of the participation of this world and the other.
So there is shame, because the imitation can never equal the original.

It is a participation of mind and matter: this is the problem dealt with in this verse.
How can consciousness appreciate the outline of that paddy field?
By mutual participation on a homogeneous ground: this is called sama-adhikarana : empirical evidence, the evidence of the senses, or pratyaksha pramana.
He makes a fuss about it because pratyaksha pramana (empirical evidence) is very important in Vedanta.
Empirical evidence is not excluded from Vedanta, as in some philosophies.

Empiricism cannot explain this participation without postulating a neutral substance between the two. There must be a neutral substance between mind and matter: this is the soul.
This is the Neutral Monad of Bertrand Russell.
Thus Vedanta is not mere idealism, but is also an empirical approach:
thus Plato and Aristotle are put together.

Thus the teeth are ashamed of not being able to establish a perfect bi-polar relationship with the lips and their colour: the neutral centre wants to be established, but there is one degree of difference between the two.
(This is much more delicate than you think it is.)
He wants to attain the middle ground, the neutral point:
it is one thing to go to one side of the road (shame);
it is worse if the side you go to is the wrong side.
There is a deliberate paradox present in the analogy.
Both the horizontal and vertical are made as thin as possible and cancellable.
But a slight prejudice in favour of reality must be there.
Reality is a necessary reference in life.

Re versification-
Sankara wants you to be confused as between subject and object,
cause and effect etc., for in Vedanta they are interchangeable
and are finally resolved into a neutral mid-point.


Having redness by its very nature...
Tava - Your
O bright-dented one
Of the brightness belonging to the lips
Sadrshyam - resemblance (by appearance)
Pravyaksha - I state (assert)
Janayatu phalam vidrumalata - let it bring about the effect of coral (reef)
Na bimbam - not reflected - or not another fruit which is red of a reef
Tad bimba pratiphalanaragad arunitam - made into that (deep hue) belonging to the pink of dawn, by reflection of its colour.
Tulam adhyarodhum - to climb to a mid-position between two rival colour-factors
Katham iva vilajjeta kalaya - why should it not in some way be ashamed even by its partial shade.



An actual fruit of magenta colour will be ashamed of being compared to a coral of the same colour.
The lips of the Devi are so bright that the teeth also appear to be red.
The mind conditions the body and the body conditions the mind.
So, he uses these two opposite examples - whichever way you put it, the beauty is the same.
He is helping the mind to make a kind of figure-8, to unite subject and object.
They must participate equally; this is the secret of Advaita.
So Sankara plays a wonderful trick here, delicate and beautiful.

The coral is North India.
The fruit is South India.

They can also be compared to the two wives of Subrahmanya,
One high caste, one Sudra (low caste).
(The Guru then talks about the caste system and decides that the women support it.)
A common woman can also be beautiful.
The fancy woman with jewels is her opposite counterpart.
"The whole of life is flowing in a verticalized flux and I am a martyr to wisdom".
"Red, by its own natural colour is Yours, o One having beautiful teeth".
There is a similarity between the lips and the teeth: "I am going to tell you..."
"Let the coral-creeper produce fruit" - not the original, in order to equalise the two counterparts.


There is a word play in the original Sanskrit: "na bimbam" means "not Bimba fruit" or alternatively "not original".
The teeth are not the original of the red colour.
The original colour is the coral of the lips.
By a fraction, the teeth are "ashamed".

There is a transferred epithet here, as in the phrase:
"He spent the whole night on a weary pillow".
Here there is a delicate interchange of subject and object.
Predicative (attribute) and substantive (thing) are interchangeable.
Here the lips are the original ontology and the teeth reflect the colour.
Sankara is saying: "Suppose the coral had a fruit, it would have been ashamed of a fraction of difference between it...."
"Pravaksye..." means "I am going to tell you..."
" Let the coral creeper give rise to fruit..."
" Na bimbam" - not the original of a reflection.
" Tad bimba..." - what is reddened by being a reflection of its original.
" Tulam addhyarothum..." - the equal scale to mount.
" Katham iva..." - in what way should it become ashamed.
" Kalaya..." - by a fraction.

So the creeper has its effect - the qualitative aspect of the cause.
Red is the original; redness is the effect.
Supposing the coral has an effect upon the teeth, originating in the lips:
"Ashamed of the colour of the lips..."



The noun is ashamed of the adjective by a slight fraction.
The original coral of the lips and the reflected coral of the teeth want to be in perfect balance.
The teeth are ashamed, in the matter of attaining the middle range.
Shame is due to the disturbance of the Absolute balance "by a fraction"
- there is a tilting of the balance. Thus there is shame.
Pure magenta colour is the same whether reflected or original.
Here Sankara says, "I decide" not " I consider"
- that is, "I am a philosopher writing poetry".
The magenta colour represents the Absolute.
You abolish the paradox between Numerator and Denominator.
" Suppose the coral has fruit..." - it would be the effect of the coral.
"Effect" is the result of a specific thing; thus it is qualitative.
A fraction of the element of pure shame, between the colours.
Colour as a cause and colour as an effect - between them there is shame,
They are trying to find the middle, the normalised and renormalised magenta colour.




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

It is not the fault of the Absolute that there is an alternating figure-8 in the Apara Brahman (non-transcendental Absolute).
The Absolute constantly emanates the same ambrosial nectar.
Only the subjective Self perceives it as alternating between sweet and sour:
this is the Chakora bird.
There is a "bunch" of moonbeams, just as there is a bunch of grapes - they are both something sweet.


By trying to enjoy the bright daylight beauty - the overt radiance - each tooth of the Devi is a brightness, a beauty.
The bird is enjoying the bright beauty of the teeth and suddenly has satiation of the tip of the tongue, which becomes numb or tired.
It continues to drink, but the task is no longer a sweet one.
This is something like rice pudding that has been left all night and gone sour...
The world over, there are two tastes: sauerkraut and sweet things.
Dry and bitter is opposed to sweet.
In the heart of reality, there are good and bad together.
Sweetness is the Numerator.
Sourness is the Denominator.
The birds must drink from both of them.




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

The tongue is praising Shiva's exploits, unceasingly.
The Devi is a denominator.
The words She utters are "the crystal-clear image of Saraswati"

Saraswati is the Goddess of the numerator world of words.
This is the division between non-prophetic (negative) and prophetic (positive) religion.
Numerator and denominator are here clearly defined.

This is " Adhyasa", which means to have the colour of something else.




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

This is a very wonderful verse in which the Devi is chewing hard nuts, camphor and brittle leaves.
She swallows and it is digested.
This is complex imagery: the hard nuts are like the hard helmets, which the three gods have taken off.
The Gods are returning from battle and are not willing to receive the ritual camphor from the priest - this is a kind of ceremonial gift - because they are rajasic (active and horizontalized) and do not know how to receive it.
"Some such imagery is there: this is not fixed"

Subrahmanya, Vishnu and Indra are returning from a battle between the plus and minus sides, wearing their iron helmets.
There is a war between the Devas (gods) and the Asuras (demons), this much is quite clear.
The Devi is swallowing mouthfuls of betel juice.
Subrahmanya Vishnu and Indra throw away their armour but keep the heads of their enemies.
They won't take the camphor bits, which belong to the Devi.
The Devi is chewing the camphor bits, which have been refused by the gods and by her chewing is merging them with their positive and negative qualities and with the magenta colour of betel.
The two aspects become merged within Her.
There is no distinction between the ontology of the camphor and its moon-like quality.
There is an analogy between the face and the battle:
you have to find the four aspects of the quaternion and put them in their proper places.
When She swallows is when the merging takes place.



Bits of camphor are merged in the four directions in the mouth of the Devi.
The face represents the entire battlefield.
Colour: in the atman there is a jagat floating. (In the soul there is a universe floating)
Colour within you corresponds to the blue in the sky.
There is a colour-solid inside, blue and rainbow colours outside.
These are colours at the core of the universe.
Thus the colour of a magenta flower comes from within the flower and is not subject to climate, etc.
The same seed will always give a flower of the same colour.


There is reference here to the Devi chewing betel to redden her lips.

The hypostatic numerator gods have had a battle with the ruffian denominator gods.
Betel nut prepared for chewing contains nuts that crack and leaves for colour.
One is Numerator, the other Denominator.

The true gods belong to the Numerator.
Shiva is far beyond these.
We are now at the mouth - which is sensory and also produces speech.
It gives an opportunity to unite Numerator and Denominator.
The lower gods are still Shiva's people - the Shiva Lingam (Shiva's phallic symbol) represents his negative aspect...
The divine hypostatic gods could not defeat these Sudras (low-caste beings).
Subrahmanya kills certain Dravidians, and takes their heads as trophies
- but not their headgear, nor the garlands used by them.



Chewing of betel is like crushing the heads of bad people.
The host of Subrahmanya, Indra etc., is fighting against the ruffian Sudras.
Camphor is a very hypostatic item; it is used in puja-offerings to the Devas (gods).
The numerator gods represent the upper teeth, which crush down on the lower teeth.
The bright forces are opposing the dark.


The numerator gods come down the vertical axis, to fight with their denominator counterparts.
After the battle they leave behind the helmets and other ritual articles for the negative worship of Shiva.
Numerator and denominator values are mixed by chewing.
The crystalline camphor, karpura, is completely mixed with the magenta colour of the betel juice.
In the mouth of the Devi there are two factors;
Numerator camphor and denominator betel, being chewed and completely mixed together.
She takes neither side, everything is merged in magenta (betel juice is a purplish colour, close to magenta. ED).




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

Shiva and the Devi.
Even cavemen are capable of conceiving the vertical axis.
The roaring bull is their concept of value - love, sex and vitality.
Shiva is approached hierophantically.
So the Devi sits with Her vina (stringed instrument) to sing the praises of Shiva, Lord of Beasts.
There are many names for Shiva: why "Lord of Beasts"?
Shiva is married to the daughter of a demi-god, the Himalayas.
The god gives a party and Shiva's wife goes to it, against the wishes of Shiva.
Her father insults Shiva and She kills Herself.
Shiva drinks poison, his neck turns blue, but he is otherwise unaffected.







She shakes Her head in appreciation as She sings.
"By the beautiful shaking of the head and living words, the strings of the vina are insulted".




Vipancya gayanti - You sing by the vina.
Vividham apadanam pashupateh - varied exploits of Shiva Pashupati.
Tvaya arabhde vaktum calita shirasa sadhu vachanam - by You begun to utter with head-nods the good words.
Tadiyair madhuraih - of such the sweetness.
Apalapita tantri karalavam - string-sound thus insulted by You.
Nijam vinam vani - Her proper Vina, the Goddess of the Word.
Niculayati colena nibhrtam - cover with a cover so as to silence.

Sitting in a car
Smoking a cigar
The only time I am happy is when I am playing my guitar.
(Editor's note: the above and all of this page (25) is entirely
in the Guru's own hand. Sic.)







A song of praise for Shiva is being sung by the Devi, who is shaking Her head.
The shaking of the head absorbs the numerator words.
The covering of the vina absorbs the Devi.
All spirituality is a cancellation of these two factors or aspects of the Devi into the neutral Absolute.
She puts Her own shawl on the vina - this is double negation.
Here we arrive at something positive through double negation.

The Devi covers the vina to silence it.
This is like covering a baby to get it to be quiet and go to sleep.
This means that structurally the horizontal factor sinks down to the Alpha point.
This process occurs throughout the work: the horizontal function is first removed - like removing the inside brackets in an equation - to reveal the pure negative aspect of the Devi.

Structuralism is a language reserved for great minds
- and all great minds indulge in it.



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


1) Touches with the tip of the hand
2) By the...Mountain Lord (Illegible)
3) By affection
4) Again and again by the Mountain Lord
5) By the painful yearning for the drinking,
or: of lips I desire to kiss, Goddess
6) By the Lord capable of being held
7) The handle of the mirror of the face
8) O Daughter of the Mountain (Sute means" Goddess")
9) Katham = how. How to describe the Absolute Value
10) Of one lower face( a lot of this is ILLEGIBLE )



Length, breadth, thickness, a pyramid.
Protolinguistics without using the name of a colour.
The colour-solid as a frame of reference. Concepts are in the upper cone of the structure - percepts in the lower cone.

This god, the Lord of the Himalayas, the Devi's father touches the handle of the mirror.
This is a pure vertical motion - it is electromagnetic.
Why move the handle up and down?
This is an incomparable Absolute.
An indirect contact means "spiritual".







Pure motion is vertical as opposed to mere horizontal movement, which is vulgar
Shiva lifts the mirror but does not hold it.
The principle of Absolute Beauty for wisdom seekers is the fourth dimension of the time-space continuum (see Bergson).






Kara grena sprshtam - touched by the tip of the hand
Tuhina girina - by the high mountain lord
Vatsalataya - by affection.
GiriShena dastam muhuh - lifted again and again by the mountain lord
Adhara pana kulataya - by the painful yearning for the drinking of lips
Kara grahyam shambhoh - by the lord capable of being held
Mukha mukura vrantam - handle of the mirror of the face
Giri sute - o daughter of the mountain
Katham karam brumah - how can we say
Tava cubukam aupamya rahitam - your lower face (or kiss) without

"Your kiss cannot be compared to anything because of being Absolute".
"Where Shiva touches the handle of thy face -the mirror used for..."





"Your face is a mirror...". When Shiva touches the handle,
it is to participate in the denominator beauty of the Devi.

He says there is no figure of speech to describe the chin,
Because the meeting point between Numerator and Denominator - the handle - is too ineffable.
Shiva takes the trouble of descending the vertical axis and touching the Denominator.
The handle of the face is touched by the finger of Shiva.
Thus they must have the same epistemological status.
The chin of Her face is the handle and the lower lip is what Shiva wants to kiss.

"Again and again the Mountain Lord lifts..." - this is pure vertical motion.
"And how can we describe this ineffable participation between the Numerator and the Denominator?"
(Or try to describe the "parts" which participate.)



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

Now Shiva will embrace the Goddess physically.


By the embrace with the arms of the Devi.
Always by the God who burns the three cities.
By arm embrace.
Always, ever, by the burner of three cities. (City burner).
Neck thorny.
Your neck bears, supports.
The auspicious riches of the stalk for the lotus face.
This intrinsically white.... (Illegible)
Dirty by excessive contact with karakil









WORD FOR WORD 1) Bhuja shleshas - by arm embrace
2) Nityam pura damayituh - always of the three city burner
3) Kanta kavati - made thorny
4) Tava griva dhatte - Your neck bears
5) Mukha kamala nala shriyam - the auspicious richness of the stalk
for the lotus face
6) Ayam svatah shveta - this naturally white (thing),
this intrinsically white object.
7) Kala guru bahula jambala malina - dirty by the excessive contact with
the karakil.
8) Mrnali lalityam vahati - the rich beauty of the lotus flower receptacle.
9) Yad adha - in the lower part of the neck
10) Hara latika - garland of pearls




By the burner of the three cities at all times
Having little thorns due to hairs standing on end
Your neck gives
The beauty of the lotus stalk of Your face
These which are by nature white
Becoming dirty by...
Bears the resemblance of a lotus flower receptacle
The pearl necklace below.

Shiva is always embracing the Devi at the neck.
"Eternally" - this is meant to bring out the Absolute touch.
This is not a real, physical thing- but the union of masculine and feminine factors.
The hair standing on end represents an Absolute emotion: the wonder of the numerator Absolute - the Burner of Three Cities descending.

The higher pole on the vertical axis is the face of the Devi, and the lower pole is the string of pearls with the lotus-stalk as parameter.
The pearls are pure, but they are in mud - if they were bright, they would be hypostatic.
"Full of thorns" means - "don't touch!"
There is a tragic double feeling here.
Anyway, She does not want any one to come horizontally and embrace Her.
Where horizontal meets vertical, there is an intermediate zone.



This is all geometry, if you teach geometry and call it poetry, how many people will come to your class?

Two bright parts - hypostatic and hierophantic - positive and negative, are connected by the stalk
- there is no tragedy and no comedy; everything cancels out.
They are the two poles of a parameter, which is indeterminate at their meeting point.
The details of reality are not always respected by the poets.
The meaning here can only be found relationally.



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

The three lines on the neck of the Goddess are triumphant in their glory.

They represent three factors in music:
Cadence, syncopation, speed.
Or Tempo, choke and notes (?).

"At the time of the marriage of the higher aspects of music to the lower, these three values - three sets of gunas, following the style of the basic centre ground, they shine triumphant, the fertile fields of..." (3)
"For varied ragas of the three ensembles of the state of existence the limits...".







Drop out, tune in.
Inner space, mind expansion, back to back.




WORD FOR WORD Gale rekhas tisro - the three lines of Your neck.
Gati gamaka gita ika nipune - tempo, choke, cadence, syncopation, note of song - experts
Viva havya nadha pra guna guna samkhya prati bhuvah - at the time of marriage of the (three) sets of gunas, forming the plus side, the basic counterground
Virajante - they shine triumphant
Nana vidha madhura raga kara bhuvam - the fertile (three) fields for varied sweet ragas (modes major or minor)
Trayanam gramanam - of the three ensembles
Sthiti niyama simanam - of the state of existence the limits
Iva te - they are like


The three lines on Your neck, showing expertness of movement (quick or slow), vitality and sweetness of melody,
When conjoined to its counterpart, forming (three) fertile grounds
For each of the triune modalities, (they do) shine triumphant,
Constituting the counterground of the three ensembles, limiting their stable state.




Saundarya - beauty ...LAHARI
Sankara - acharya
Devi as Absolute.
Architectonic music (?)




Music and notes can be divided into three sets of ensembles.
These three produce all the different ragas ("modes"- very roughly translated) on the Numerator side.
All music depends on the use of the three gamuts within the octave.
There are three lines on the neck of the Devi, which vibrate.
When Shiva married the Devi, he put around Her neck a black thread - basic and ontological - made up of three strands. (This is the Indian equivalent of a wedding ring. ED)
So the vina (stringed instrument) is divided into a three-fold ground system.
There is 1-1 correspondence between the notes of music on the Numerator
and the ground of music on the Denominator.

"You can sing whatever songs You like,
but the origin of the songs must belong to the husband".
There is a "marriage" between the notes and their ground.



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

Brahma was born of a lotus on the negative side and had his fifth head plucked off for trying to cross the tragic line - it was plucked off by Shiva's harsh nails.
But the Devi's lotus-born hands have a suppleness which allow Her to protect the remaining four heads of Brahma: this suppleness has been given Her by Shiva, inherited or taken from the mrnala stalk, the thin, milk-white central strand of the lotus-stalk.
The Devi thus participates between the two sides.
So it has whiteness and suppleness - like the breasts.
Thus the nourishing breast comes from above.



The head of the Devi is not mentioned.
Brahma remains below the horizontal line for fear of Shiva,
The one-to-one principle is operative here.
"Praising the protection of the Devi" - by praising, he compensates for the protection.
His head has been cut off to prevent him entering the hypostatic conceptual region above from the hierophantic or perceptual one below.
(See in Upanishads for the source of 4 hands, heads etc.)



TRANSLATION Lotus-stalk tenderness of Thine...
Like the lotus stalk, very tender
Of Your four-branching arms
Of the four/the beauty / of each of the four
The Brahma praises (the god Brahma)
By his faces (by means of his mouths)
Being afraid of nails / by nails trembling (shaking with fear)...of the nails which plucked the fifth head
Of the enemy of Shiva having before plucked, by first plucking by Shiva, by the four heads remaining.
At the same time having in mind to make the gesture of protection from fear.
Equal protection offering
(By way of equal protection offering).




There seems to be some question as to where the Denominator factor is to be found in schematic representation.




By four lotus-stalk tender arms of thine
Of each of the four the beauty
Brahma praises
By his faces
By nails trembling
By first plucking by Shiva
By way of equal protection offering




Mrnali mrdvinam - like lotus very tender
Tava bhuja latanam chatashrnam - of Your four-branching arms.
Chaturbhih - of the four
Saundaryam - the beauty
Sarasija bhavah stauti - god Brahma praises
Vadanaih - by his faces
Nakhe bhyah santrasyan - being afraid of nails
Prathama mathanad antaka ripoh - of the enemy of death having, before been plucked
Chaturnam shirshanam - by the four (remaining) heads
Samam abhaya hastarpana dhiya - at the same time having in mind to make the gesture of protection from fear



By the four lotus-stalk tender arms of thine
Of each of the four heads
Brahma praises by his faces, by nails trembling
First head is plucked by Shiva
By the four heads by you equal, protect, offering.
By way of equal protection offering...


Brahma had five heads, but one of them was plucked off.
But what is the meaning of all this mythology?
What does he tell us about Absolute Beauty?

He had used his fifth head to enter Shiva's conceptual region -
Shiva cut it off with a kind of hydrogen-jet laser ray.
So Brahma became afraid and stayed below the horizontal axis.
Saraswati, as daughter of Brahma and wife of Shiva, has four hands.
The hands are four Numerator factors.
The four mouths praise the protection of the four hands
- to protect each Denominator head there must be a corresponding Numerator hand.
When you say Beauty, that means greatness, value, etc.; so you have to experience the flash of realisation.

This is a view from the perspective of intentionality more than actuality.
The prayers of Brahma correspond to the protection of Devi - they cancel out.

This is intentionality, in the world of phenomenology.
He salutes the four heads of Saraswati, praising the mouth
And there is one-to-one parity.
The cancellation of the two is Beauty.
Four intentional words are cancelled by the heads of the Devi - kindness and cancellation in Beauty.