Verses 51 to 60

P1- Verse 51

P7- Verse 52

P16- Verse 53

P19- Verse54

P24- Verse 56

P26- Verse57

P31- Verse58

P38- Verse59

P42- Verse 60



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




Thinking of the Absolute is METAPHYSICS
and seeing the Absolute is PHYSICS
The two are brought together.
When nature is placed at the Alpha point - you get a goddess.
Otherwise you can hypostatise and get Jupiter or Zeus at the Omega point.

This mathematical, structural language is used in science.

Time - there is pure time and mechanistic time.
(Compare the cockcrow and an alarm clock.)
These two should agree.
Bergson says: "do not mix these two times!".
Unless you know this, do not study Brahmavidya (the Science of the Absolute).

From the 41st verse on, there is a change in style.


(note - Krishna is black to represent India - particularly South India)

In this verse 8 attitudes are reflected in the eyes of the Devi:
1- Love for Shiva - her eyes fill with moisture.
2- Disgust for those who praise (?) -ashamed.
3- She is surprised, full of resentment at Ganges coming near to Shiva
4- She is full of wonder at Shiva's career (Girisa)
5- She is full of dread for the snakes of Hara - fear.
6- Eclipses the beautiful colour of the lotus.
7- Smiles on "thy comrades" - those who consort with Shiva.
8- …and "full of grace towards me" (Sankara).

The Devi´s eyes have all these qualities.
Sankara violates none of the rules of the Absolute.


Structure - Sankara, as poet, is on the vertical axis.
Other poets are on the horizontal axis - the Devi is not interested in them.
Two of these Rasas or "moods" have no direct reference.


Here are 6 or 8 attributes that the poets use when singing the praise of the Devi.
Compassion is at the bottom of the vertical axis.
At the top is erotic love (sringara) - the spear on which the goddess is caught.
"The eyes turn towards the ears, on hearing…"
Abstract in your mind the whole of poetic discourse.
Literature gives pleasure; this belongs to the absolute soul of the Goddess.
She is able to verticalize a certain amount of sringara (eroticism).
Erotic interest is the most dominant; thus Sringara is given the uppermost position.


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

"Having attained to the edge of the ears, as if resembling the feathers..."

Shiva is placid and is meditating, but Eros is pulling his bowstring to the ears - thus the eyebrows become arched.
When eroticism acts on the negative side of the vertical axis, Shiva becomes disturbed.
On the cosmic scale, think of waves as a disturbance of the placidity of the vertical.
Experience is in the horizontal.
Numerator and Denominator cannot exist at some levels on the vertical axis.
At lower levels the Devi may have erotic emotions.


Here, Eros´ work is brought in to show the erotic, horizontal aspect of the Devi, while Shiva remains mathematically pure.
But both are part of the same Absolute.

The total absolute picture is one in which male and female cancel out.
But the poet concentrates on the beauty of the Devi, which is absolute beauty.

The function of the negative absolute is tragic.
The function of the Devi is to create space - something like waves
- horizontally, matter is impenetrable.

Bhogya (enjoyment) is horizontal
Bhokta (the enjoyer) is vertical

Smara (Eros) - horizontalising erotic tendencies disturb the surface AND CREATE THE UNIVERSE.

Devi - expanding universe
Deva - ( her male counterpart) - contracting universe

These are alternating and complementary theories.


VERSE 52 (2)

Res Cogitans
Res Extenso
(the vertical thinking substance and the horizontal extensive substance)

These are conjugates which are proportional (see Heisenberg).

Conjugates are correlates, which belong together.
Quality and quantity reciprocate.

The placidity of the vertical axis must correspond to the creative urge of the horizontal.
(The triumvirate of the Hindu gods is finally absorbed by the Goddess)
"The three gods are under Your purview, within Your territory, You are the presiding deity."
They are only points within the totality of the absolute.
Sringara, the erotic mood, becomes tragic in the text.

The erotic principle of horizontal love - as light and space - disturbs the placidity of the vertical principle.


The horizontal disturbs the placidity of the vertical, so when Eros pulls the string of the bow towards his ear, he disturbs the placidity of the eyes of the Devi.
He is a representative of the erotic principle, which is always present in the universe.
But Eros, the enemy, when sublimated and united with Shiva, cancels out into the glory of the Absolute.
When they are put together, you get the neutral Absolute.

The eyes become disturbed when the bowstring is pulled.
If the Devi thinks of Shiva, the disturbing influence will be absorbed and cancelled out.


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

There are three gunas or modalities of nature.
They are represented here by the black, white and red of the Devi´s eye.
The universe has alternating space and time factors.
In the same way, the Devi feels in a mood to decorate Herself.
She wants to shine and play and decorate Herself to manifest Herself.

There are three gods who represent the three gunas: Brahma, Vishnu and Shiva. The negative Tamas of Brahma must be assumed to be black,
Vishnu, the enjoyer has the red middle ground,
And Shiva has white at the positive limit.
These correspond to Sattva, Rajas and Tamas, the three nature-modalities.

There are three distinct functions: plus, minus and intermediate.
Sankara is attempting to say that there is a period of expansion and one of absorption and that these alternate one with the other.
The Devi is decorating herself - horizontalising herself, causing the colours to stand out.


Here, the distinction between black and white comes into great contrasting relief.

There is an alternating cosmology in the universe.
Brahma is purely vertical before manifestation, but when the Devi horizontalizes, she causes him to function.
The vertical Absolute found itself lonely and said: " let me create some companions".
One implies many and the many implies the one. (See the paradoxes of Zeno)

The Goddess horizontalizes herself without losing status.

The one and the many cancel themselves out into the Absolute.


The paradox must be dissolved in order to arrive at the Absolute.
When you have resolved the paradox, then you are a Vedantin.
In the Upanishads, we find the most respectable world-view ever put forward.

The three gods have three functions.
The three colours have their aspects.
The Devi represents the notion of beauty in the most abstract and generalised form.

Schroedinger - if you look at the Himalayas, someone looked at them before
and someone will look at it after you, but the general impression will be the same.

Vertically viewed there is permanence,
Horizontally viewed, there is impermanent manifestation.


The three gods have no function when the Goddess is not in a playful mood:
from the distinctness of the colours you can tell how horizontal she is.

Structuralism: Sankara is not adding to the mass of metalanguage
he is reducing it to Protolinguistics, to structural terms.
This is the mystical language of Dante, Goethe, Rousseau etc.,
which has become public science - it should give you confidence.
They are specifically made distinct one from the other - red, white and black
- expressed with great contrast and relief because the goddess is in a playful mood.
"Your visible three eyes have been made very, very distinct, o wife..."



By this very attitude (or expression, or manifestation) these three gods who have gone into a passionless state,
as if carved in a pillar and verticalized, take on the functions of Tamas, Rajas and Sattva - the three gunas.


This is reduction and one to one functional correspondence.



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

This begins with the story of Shiva and Parvati - he is meditating and She practices renunciation (tapas).
Shiva burns Eros with his third eye.
In Kalidasa's works the structure of the Absolute is revealed through tragedy and comedy.
A minimum of horizontal love is retained through the slight magenta colour, which remains on the lips of Parvati as a normalising factor.
Meditate on the middle part of the Devi, week by week.



That is the great secret of the Upanishads, crystallised by Sankara,
who wants the feet of the Devi to be put on his head.


"Your heart is not in your possession - you have given it to Shiva.
Your eyes which are full of kindness and friendship are beauteous
with shining red, black and white colours".

"You create these three holy rivers: Shona, Ganga and Tapana-Tanayeti."

In India there are three sacred rivers, each with a distinct colour: the Ganges is white etc.
These three put together give us absolute beauty - that is - a saving factor.
The Devi's eyes have a beauty which is black, white and red: sattva, rajas and tamas, the three modalities of nature, the value of which, when transcended, gives salvation, which is the same as what is obtained by bathing in the waters of the three rivers.
Absolute beauty has its value because it is cancelled out by its numerator factor, which is Shiva.


"A devotee like me, admiring the eyes, gets the same benefit as those who bathe in the three rivers".
One of these flows westwards and the other eastward, the Ganges flows north-south.


Put the component parts of the structural whole together,
with reciprocity, complementarity, compensation, etc.
- it will reveal the Absolute by virtue of its content.

A man who has faith in the Absolute rises from the level of necessity to the level of contingency by doing that which seems to be impossible.
Otherwise, he remains an ordinary man.
Impossible things become possible when you believe in them strongly enough
- in accord with the Science of the Absolute.



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

Some little fish are playing in the water, near the ears of the Devi.
They are afraid of the eyes of the Goddess, which are long and gleaming and shaped like a fish.

This gleam is of permanent beauty and these big eyes are near the ears, telling the Devi that the little fish also want to emulate the beauty of these large fish-like eyes.

The little fish are hiding, afraid that the eyes of the Devi might carry tales of their foolishness to the ears of the Devi.

The subject is Absolute Beauty - the pundits forget this.
Where is this water in which the small fish swim?
They never shut their eyes.
Why small and big fish? Why a lotus which opens at night?
Does the Devi like to open her eyes?

In the previous verse the Devi´s eye has black, white and red colours in order to purify us - and these colours are separated.

In this verse there are small, young, female fish, afraid of the eyes which are like fish themselves and go near the ears of the Devi, telling tales on the little ones.

This reflects the subconscious of the Devi at night, who is attended by many young attendants: there is a senior attendant who will tell on them.


The goddess herself is awake day and night - she is Absolute
- she cannot even wink her eyes.
All these little fish are nurses who have to attend on the Devi.
This verse requires a lot of explanation.

The little fish are below the horizontal axis.
They are a pluralistic version of the large fish (the Devi's eyes): they are disciples of the Absolute Devi.

Nothing must go wrong in the universe, so there are night-attendants.
"Our intention is good" say the disciples.
This is the relation of the one to the many.
They represent the Devi herself, they are her disciples.

The one eye is monotheism.
The many are plurality. Put them together: you get the one and the many.
Lakshmi enters into the blue lotus and comes out - this clinches the point.
The door of Lakshmi´s lotus closes in the daytime and opens at night
- so she goes to the hypostatic, positive, side in the daytime and comes back to the denominator and negative side at night
This is a vertical movement - a blue.
A blue lotus loves the moonlight and blooms at night.
It opens its petals at night to receive Lakshmi and in the morning she leaves again.
This flower behaves in the opposite fashion to other lotuses.
The two lotuses produce a figure eight inside the crystal.
The vertical axis functions only at dusk and sunrise.


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

"Bathe me with mercy, o Shiva consort...".
There is a kind of extreme self-pity here "Which deeply touches me".
The "distance" also touches me: this is extreme humility.

Tagore also believes this when he says:
"There are many musicians in your great hall, but I am sitting in a corner ready to sing, and next to me is a beggar - and if called to sing, I will be overcome with emotion"
- this is the melting point of mystical emotion.

"When Self and non-Self cancel out ("click") - then I am ready to weep,
but not for particular instances or people."

Sankara is saying: "You are not losing anything: give me that delicate thing that will make me the richest man in the world":
a reciprocity so complete that he is the counterpart of Her, the Goddess
- thus, he places himself at a distance to make the equation complete:
" you do not lose anything": that means there is a complete cancellation involved
Nothing horizontal is left.
He wants only a vertical recognition - "don't be kind to me, I am a beggar at a great distance - just glance at me".
That pure internal vertical relation is what I want - do not give me anything quantitative and horizontal.

This is absolute: when one prays like this vertical contact is established between the two counterparts.
"You will suffer no loss - I want to belong to the vertical axis only: thus, at a great distance, make me very small and far away."

Cf. the letters of Heloise to Abelard: "don't lose your precious reputation, I won't trouble you by ever coming to your doorstep"

Cf. Rousseau, in his Confessions, who doesn't care if "Maman" sleeps with the gardener, as long as she looks at him.

So distance is very important.


The opening of the bud of the blue lotus is not an "event" or a "function",
but is mathematical and beautifully full of intentionality.
Guru: "I promise I shall never come near the beautiful women of Ooty and make love to them,
I don't deserve that; why should I claim the friendship of anyone": you can abolish yourself and therein lies the joy.

Heloise says: "Don't give me any more than the least of your disciples:
but don't omit me from the vertical relationship nor from the teaching either."

Narayana Guru said that the Devi should not bless him with twelve hands, but only with one: "You want only one hand to bless me".



What is the purpose of this verse?
Beauty does not discriminate between rich and poor.
It shines even on him who is not endowed with anything and he gains satisfaction in knowing that Absolute Beauty does not discriminate.
Beauty is an abstract and universal value
- no personal factors are to be considered and no contact is necessary.
Even the thought of it (or the side-glance) will do.
Bipolarity must be established between the individual and the Absolute.
This is all that is important - the bipolarity: then the favour has its effect.
The only thing important is that the bipolarity be established.
So this is a law of bipolarity, "K" - like the velocity of light.
Both the observer and the source of light can move - it does not matter.
Knowledge of the Absolute comes to you in this way.
The Devi´s recognition - even a side-glance - has to be absolute.
The thought by which the mendicant affiliates himself with the absolute
brings the effect, which is always "K".

So, no qualifications need be fulfilled by the Devi- She has only to recognise the mendicant.


Sankara lingers still on the eyes - because that is the locus of beauty in the face of a woman.
This is a most touching verse.
Why "askance" and why "long" glance?
"Long" must refer to the periphery.
"Askance" because he is distant from the centre.
A poor man, distant from the centre, which is rich.
He is on the horizontal axis somewhere (hence "askance").
Put him on the right hand actual side of the horizontal axis
- as a real man, perhaps suddenly reduced to poverty.
An indigent man who has lost his business in the real world.

Distance means periphery - askance means horizontal.
No pundit can explain these implications without structuralism.

This indigent man can be at the furthest periphery, and located horizontally.
But, if he has the wisdom to affiliate himself with the Absolute, then he is saved.
This is axiomatic.

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

This verse deals with the pair of arches between the eyebrows and the ears.
The pundits have not succeeded in explaining this.
We have to go to the intentions of the author.

First, think of the eyebrows as arched.
Then think of the arrows.
The side-glance is an arrow put at right angles to the arched eyebrows.
The length of the side-glance is such that it goes beyond the ears.
The arrow is horizontal - a side-glance - with arching eyebrows - as a woman deeply in love looks at her husband.
(There is a question as to whether it means "obliquity" or " at right angles")
Obliquity - because now the string is being pulled.
This means that the Devi is still capable of emotion.
And, he says, anyone can understand this. The arrow is about to be let go.
She is full of emotions. This is also part of the Absolute.
So She is about to be stricken by love.
This is a front view: the eyebrows are now completely arched - She is full of love for Shiva.

"Who will not?…" - I am not saying something rare when I refer to the bow of Kamadeva,
But there is something rare about the side-glance going past the ears of the Devi.
Her eyes are oblique and they go beyond the ears -this implies intentionality
The eyes are exceeding their norm of horizontal limitations in order to attract Shiva.


Narayana Guru and Tagore also ask for the side-long glance of the Devi.
"In the great hall, I am also a musician, but I cannot sing because my mind is full of devotion to You."

Now he has gone from a streak of magenta in the hair, to a pure horizontal aspect of the eyes.
I.e. It is legitimate for women to fall in love.
She has to be negative - She has to have oblique eyes.

This meaning that you get about the two bows is very easy.
Sankara says that you should not tax your brain about this, nor should you think that there is anything wrong with the Devi´s love for Shiva.

Think first of a bow - who cannot see this?
But the oblique glance of the Devi has transcended the ears to attract the attention of Shiva or someone.
NOT Shiva but "someone" - horizontal.
One man virtual, one man actual - as related to the schema.



There are two ears and two eyes - in the middle is a light.
There is a visible bow and arrow.
Then horizontally, there are the long and oblique glances of the Devi
Verse 58 - we will return to it.
The eyebrows are arched and there is a glistening light coming from beneath the eyelashes of the Devi.
Eros has put the arrow into position.
Of the two suggestions of Sankara, the first is easy.
The second says that the lengthening of the eyes transcends the ears
- a horizontal parameter and also a horizontal light - this is difficult.
Sankara was born of an aryan father, who taught him the Shastras (scriptures),
and a sudra (low caste) mother, who suckled him on the milk of Tantra and esoterics.
The obliqueness of the glance is simply the horizontal axis - and there is a light there.


aralam te - your bent or curved
paliyugalam - outer ear - limit - margin - edges, row - line - circumference // pair - couple - a yoke of oxen
agarajanyatavaye - -o daughter of the king of mountains
na kesam adhatte -in whom should it not instil
kusuma..kutakam - the suggestion of the bow of the flower-arrowed one.
tirascino - transverse -horizontal - across - obliquely - against one's will
yatra - in which place - where- wherein.


- your bent
- pair of limits
- o daughter of the Himalayas
- in whom should it not bring
- the suggestion of the flower-arrow
- there placed tangentially (at right angles to)
- passing beyond the auditory path
- shining
- the length of your side-glance
- expresses or exhibits
- the semblance of someone joining the arrow to the bow (or "idea")

The "limit" can only be the eyes.
They are bent due to Eros.
There is a line reaching beyond the ears.
Wherever some emotion is present (signalled by Her bent eyebrows) the idea of eroticism is present as well.
The hearing and the eyes are put at right angles to one another
- and here we "pass beyond the auditory path" - vision and hearing are two separate axes.
Your side-glance is very long - transcending normal space-time concepts.
It produces the joining of the bow and arrow.

To the extent that the side-glance is long it is compassion.
To the extent that the eyebrows are bent it is erotic

So there are two aspects of love at loggerheads with one another.
There are two things - the side-glance and the bent eyebrows.
The possibility of erotic sentiment is there, but the side-glance of compassion is the aspect, which is stressed.
He is not saying one thing or the other, but both together.
The Devi must have the possibility of eroticism as a woman, but compassion is there as well.
There is a subtle relationship between seeing and hearing.
Thus the side-glance extends to the ears; eyes and ears belong together.
"To whom should this not bring the suggestion of the flowery bow?"
The bow is placed at right angles to the line between the ears.
These are shining lights - not something real.
"Your side-glance, which is long, exhibits the function of intelligence…"
It causes the idea to arise, which you are meant to imagine as an arrow being placed on a string.
But the bow is not pulled - the idea of erotic sentiment is there, but it is balanced correctly, so as not to be vulgar.
The possibility of sexual interest is there.
If you meditate on the Goddess, you can remain quiet.
The function of the ears is passed over.

Lines of light alone are under reference here.
Length, curves and right-angles are all referred to here.
This is a perfect example of structuralism.


"The bow of the flower-arrowed one…"

Pali yugalam - two limiting curves joined together
- two lines which are curved, resembling a bow.
Then there is a line oblique to this - the arrow.
Then there is a blue lotus bud for the tip of the arrow.
To whom will this not suggest something subtle?

There is a structural presence, with a dynamism, because the eyes go beyond the ears.
Sound comes to you as a horizontal line.

Then you put the bow and arrow somewhere, with Eros hiding.

When you abstract and generalise beauty on the face of the Devi,
you get a vertical and a horizontal line, which have a reciprocal relation.

Why does the Devi hide Eros - the enemy of Shiva - inside Her?

Yoga is like the fixing of the arrow - using the Devi´s image:
only through the structure can you meditate successfully.
There are eight Chakras within you - this is the greatest secret of Yoga
- do not see Woodroffe in this connection, his information is not correct.

The lower structural triangle is the bowstring;
the upper triangle is the momentum, which will result when the arrow is fixed
(mass into velocity equals momentum.)
There is compensation between the bowstring and the momentum.

Cancellation is when the arrow strikes the Omega point and Shiva

Why Eros? Because there is no story without him.
Why does Milton want Satan in "Paradise Lost?
Anyway, see it mathematically.
Everything is beautifully vague here and based on guesswork.
The better the guesswork, the better the Vedantin.
To present this in mathematical form is to abolish all cultural divisions.

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

The gold ear-ornaments of the Devi are here described as reflected in Her face, thus yielding four wheels.
These are the four wheels of the chariot - two real and two virtual.
This is the chariot for Eros to ride in when he fights Shiva.
In the previous verse, Eros is sending arrows horizontally.
Shiva will descend in a two-wheeled chariot like a helicopter,
with the sun and the moon as wheels.
He will descend in a logarithmic spiral, like a helicopter, to fight Eros.

They will fight on the horizontal axis and Shiva will win.
He wins because time must absorb space and verticality must prevail.
Virtuality and actuality have met on the horizontal axis (the four wheels).
The Devi is about to break down in an emotional crisis, Her eyebrows bending, smitten by love.
The two-wheeled chariot is a vertical version of the four-wheeled one.

Of the four wheels, the virtual ones are the two gold ear-ornaments,
since they are ornamental, near the ears they are conceptual and not a part of the Devi.
The reflected ones, on her temples or cheeks are seen to be the real ones -
as they are a part of the Devi herself.

In the past verses, Eros has been gradually overcoming the face of the Devi.
Now he has succeeded and he thinks he is powerful enough to fight Shiva,
by virtue of his affiliation with the face of the Devi.


Shiva's face is the whole globe - with his feet firmly planted on the sun and moon.

There are two equations
- a denominator one - Eros and the face of the Devi,
and a numerator one - Shiva and the conceptualised globe.

This can only be a vague way of meaning "opposing, hitting or shaking up".

Everything has to be shining and reflecting for purposes of schematics.

Thus, Eros mounts the chariot of the face - the wheels are the ear-ornaments
and the reflections in the cheeks are horizontalized.

Shiva is the counterpart - his circle is the globe - he is standing on the sun and moon.
(A hypostatic entity has a conceptualised basis.).
Then the face of Shiva has to come to the face of the Devi: Eros is the hero,
while Shiva is merely prepared to meet the attack - although the attack may only be for one moment when Eros and the face come into the vertical axis.

The Numerator and Denominator are absolute and when they confront each other, there is a participation and a cancellation
- because of this Eros, Shiva can look at the face of his wife without duality.
How do you justify this business of fighting between husband and wife?
There are two vehicles - enemies - confronting one another: what is the word in the text that justifies this fight?
It is the face Sankara is talking about: there are no chariots, but only the face of the Devi and the face of Shiva.


It is the concept of the earth here - with sun and moon behind - it is hypostatic
- a heavenly orb descending to meet the face of the Devi.
There is no opposition, but only participation: there is only a difference of two faces placed near to one another.


No man but Narayana Guru can find the meaning of this verse, except perhaps
Chettambi Swami (his guru), by becoming an absolutist due to the circumstance of being illegitimate.

The meaning consists in bringing the globe down to meet the face.

True because it cannot be otherwise is Rtham - the name of the truth, not the argument.
How do you know the child loves the mother? It is mathematical.
Reductio ad absurdum.

True because you can touch it is Satyam: existent truth.

Two opposing things neutralise each other: 4/4 =1
If they were really fighting, the result would be O, but it is not O, but 1.


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

A dialogue between Saraswati and the Devi.

Three values:
Saraswati's poem - Vedic Numerator.
Devi hears it - Denominator.
Thirdly - the Devi appreciates it in the meeting place of all light, sound, electricity etc.

Three sounds:
Saraswati speaking.
Devi appreciating.
(A dialogue)
Cancel them out with the third sound of earrings.

There is an Aryan Goddess and a Dravidian Goddess.
The sounds correspond to white, red and black - the three gunas (modalities of nature).

There are three levels here:

- the sound of the ear-ornaments jingling very delicately: thought - conceptual - this is the central level, which is red.

Saraswati is reciting a beautiful Vedic poem, which descends from the Numerator - this is another level - the white level, on the positive side

The Devi hears it - this is the Denominator aspect of the sound - black, on the negative side

The jingling of the ornaments is due to the shaking of the head of the Devi in appreciation - this is occasionalism.

This verse of Saraswati is in praise of the Devi.
You have to think of Saraswati as respectable, on a white lotus on the hypostatic side.
She sings a poem, which has to be appreciated by its Denominator counterpart.
The Devi hearkens and strains to hear the song
- the sound is like the vibrating of the vertical axis.
The Numerator and the Denominator come together in the centre, without the three levels of structuralism being kept in mind.


Guru: this verse is too good to be explained.

This is the secret of Sankara: he puts together Aryan and Dravidian and gets Vedanta.


A dialogue between Mukambika and Saraswati - Denominator and Numerator.
Denominator protolanguage and Numerator metalanguage.
The stretching of the ears means that Saraswati is saying something very difficult to understand and Mukambika responds through protolanguage
- through the shaking of her head - thus the jingling of the ornaments.

There is a telephone call from Saraswati to Mukambika, wherein great secrets are given in words - this is metalanguage.
Mukambika responds (that she understands) by using protolanguage (her jingling ornaments).

"Eva…" means "it looks as if" - it is a response - so it is still an analogy -
- it is still vertical: it has no real status of goddesses talking in the horizontal - there is no duality here - there are no two goddesses.
It is simply structural.