SOURCE SLC4 is a typescript dated 18 - 11 - 69



P1 to 22 - V44 to V50
P23 to 32 - V42 to V44

P6- Verse 47

P11- Verse 48

P14- Verse 49

P19- Verse 50

P23- Verse 42

P27- Verse43

P30- Verse44


SLC4 - P1

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


The Devi has a numerator parameter, which is the saving factor.
The rays represent the effulgence of Her face.
Now I want to call together artists and put together some visual images of the first 44 verses.
This wisdom can only be put over to the public through the cinema.
These Mandalas are inner space.
The thickness of the growth of hair is proportional to the thinness of the parting or parameter.
The thickness of the hair represents ignorance or the horizontal,
while the parting is the vertical axis running through all and abolishing our ignorance.



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

This verse compares the face to a lotus.
There are dark curls around it, representing bumblebees.
The face is round and the lips are slightly parted.
Shiva, the killer of Kama Deva (Eros) is looking up amorously at Her face.
We are travelling from Ananda Lahari to Saundarya Lahari ( from the first to the second part of the poem)

Now he describes a person, but he remains in the mood of Mandalas.


- thus the round face, surrounded by curls.
- By its own nature curly
- Like black bumblebees
- Curls
- Your face which is surrounded
- Mocks (puts into ridicule)
- The beauty of lotus flowers
- Slightly parted in a smile
- Of which (lotus face)
- Adorned by pollen (i.e. teeth representing pollen)
- Perfumed
- Attain to infatuation of joy
- Those bees which are the eyes of the burner of Eros


The face meets the beauty of the lotus flower.


The lotus face, surrounded by bumblebee curls represents the vertical eye of Shiva, destroyer of Kama Deva (Eros).
This is a verticalized version of the love of Shiva;
thus there are no erotic sentiments involved.
In this transitional verse we still have the schematic language left over from the previous verse.
This is a transition from Mandala language to pure language.
The petals at the centre are half-open to signify the delicate aspect at the very core of Beauty - thus the parted lips.
Shiva's eye is drawn to the core of Beauty, with the teeth as pollen.
The curls represent the bees and are involved in a purely vertical love.
The paradox is resolved - how can one person love and one not?
This is because Kama Deva is absorbed in Shiva and loves in a purely verticalized way.
Killing Eros was a process of absorption.
Shiva is a lover without contradiction.
He appreciates only Absolute Beauty.



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

This is "far out", "too much".
You have to take the crescent moon and turn it round, so that it will form a circle with your forehead, which is also shining.
Do not put the two crescents back to back, put them belly to belly - a double correction.
"Your" forehead has one crescent, turned horns downward;
Shiva's is the other way round, just put the two together (integrating physics and metaphysics) and you get the Absolute.
This is the poet's fancy, as he describes Absolute Beauty.
Take the top crescent of Shiva and turn it upside down
Turn it upside down and it will contain something.
Together with the other crescent this will make a circle - close the brackets.


- Forehead.
- By the brightness of the beauty very pure.
- It shines.
- That which constitutes your second.
- I consider.
- Fixed onto the crown.
- The frail bit of a crescent.
- By reversing position.
- Both together.
- Having thus intimately joined together.
- The fullness of sweetness (permeated fully by nectar sweetness)
of ambrosia (besmeared).
- Becomes.
- A (fully developed) full moon.

So the Devi is married to Shiva and thus wears a crescent moon on her crown, similar to Shiva's.
One crescent is shining on her forehead, the other on the crown.
Which one has primacy?
(Note the parallel with the Devi´s earrings reflected on her cheeks as chariot wheels. ED)
I consider the crown-crescent of Shiva to be the reference
- it is the abstract mathematical concept.
So the Devi's crescent is secondary, as compared to Shiva's.
But there is no difference in gradation.
There is no question about their equality.
Epistemologically they are the same.
The approach must have a proper methodology.
Her forehead-crescent is methodologically secondary to the crescent on Her crown.
Ganesha can also have the same crown - it is not just the realm of Shiva.






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

The bent eyebrows of the Devi are like the curves of a bow,
when held by the left hand they represent her compassion for the whole world.
The eyes show some libidinous emotion.
The left hand of Eros holds the bow at the bridge of the nose.
The eyebrows begin to quiver with compassion.
The eyes are black, negative and tragic, they are like bees.
They are filled with tears.
Compassion stems from the libidinous essence of the Devi
- it sublimates into compassion for the whole of humankind.

There are two processes.
Have the Devi go into the boudoir and look at herself in the mirror with her eyebrow pencil - then reduce and fade
- suddenly reduce it into a cubist picture, or Chinese impressionism.
You can go from realism to surrealism,
- to the colours of Picasso, Goya, Van Gogh, and Rembrandt (black and red).


From there the arrow appears and Eros enters.
The face, instead of glowing, becomes Mandalas and lotus petals, as in the previous 40 verses.
Then between the eyes comes a burst of light.
Eros must be introduced in the beginning of the film, so that onlookers may be... (ends here)

The Devi has a guide in Eros who is available to fight for the Devi against Shiva or anyone else.
As long as Eros is on the vertical axis, he is safe from being burnt by Shiva (as by an electric current).
But if he crosses the vertical at right angles to the current, then he is in trouble - just as in electricity, where magnetism is also at right angles.

The bow of Eros at the eyes: the eyes are generally pure windows, but the Devi is not pure and conceptual;
She says: "You fool! Don't you know my function? I am a baby-protector and feeder, thus I must have this bow and arrow!"




The eyebrows bend slightly, like bows, when a beautiful woman is crying.
The bowstring passes through the eyes.
She is concerned about the fear of created things, wishing to preserve their lives.
The eyebrows vibrate with emotion.
Eros is responsible for this - that is, the primary motivation can be due to an erotic tendency, playing on the emotion of the Goddess.
She is only capable of emotion when it touches the whole of humanity.
The verse just suggests bent eyebrows - She is about to cry - but she is not crying; however the eyebrows are vibrating.
An arrow is about to be shot at someone.
There is bilateral symmetry here: you can put the right hand of Kama Deva there, in the middle.
The Sanskrit reads: "with the other hand".
Anyway, when you pull the bowstring, the bow vibrates slightly, like the eyebrows of the Devi, in infinite compassion.



- The pair of eyebrows, slightly bent.
- Of thine, sorrowfully concerned with the banishment of fear
from all living beings.
- By Her eyes (not dual "pair", but plural).
- Like the brilliant beauty of bumblebees (a row of bumblebees is the string).
- Gaining a bowstring.
- I assume to be the bow.
- Of that counterpart of love, which is the other of the pair.
(Parity, but not primacy).
- Forearm and fist alone.
- When it hides - hidden inside.
- O Goddess - Umé.

There is a certain parity between right and left hand
- why does he not indicate the hand?
And why does he say "the husband of the Goddess of Love"?
Because this is important to the total structure in the mind of Sankara.
He is saying: "the counterpart hand" - no left or right is indicated, rather, simply, "the other".
Thus an extraneous horizontal factor is hiding the Absolute to a certain extent.



That eye of Yours, in essence the same as the sun and other than the left,
It generates daytime; the left one, presiding over night, creates its three vigils;
While the third eye, like a half-open golden lotus bud,
Ushers in the twilight time, moving between day and night.
The right eye presides over the day, the left over night,
while the third eye presides over twilight.
Before, the vertical parameter began at the parting of the hair.
Now, we have the face, with the sun and moon as eyes and the third eye, of a golden colour, as the meeting point.



The third eye of Shiva is the normalised version of the other two eyes.
There is a golden flower at the very centre of the situation.
Do not strain yourself in meditation with open or closed eyes,
but have them half-open, half closed. (Which means normalised).


- Gives birth to daytime.
- Your eye which is not the left (the vaguer the better in this schematic language)
- By being identical with the sun.
- That tripartite divisional factor (the whole night).
- Your left one (eye).
- It creates (manifests).
- The presidentship over night (by being the moon).
- Thy third eye.
- Of slightly opened golden lotus beauty.
- Ushers into being the twilight dusk.
- Of day and night moving between (it lives and moves).



The night has three vigils, presided over by some kind of moon.
The day is presided over by the sun.
Put the third eye at the neutral centre point.
This is the small golden lotus, which represents the central value.



(no schemas or commentary given)
"Thy right eye, being of the form of the sun, begets the day,
While the left (eye), of the form of the moon, begets the night;
Thy third eye, which resembles a slightly blossomed golden lotus,
Brings forth the twilight, which introduces day and night."



Vishala the expansive, Kalyani the auspicious; Sphutaruchi the clear of taste
Ayodhya the invincible, by blue lotus bound; Kripadharadhara, on mercy's fountain founded;
A certain Madhura, the sweet; Avanti, of saving power; Bhogavatika, enjoyment affording;
All such names of various cities of lasting fame, within Your total regard they do reign triumphant
This is the verse which refers to the various kinds of eyes of women;
- unconquerable, agitating, etc.
These eight reign victorious.
Functions and values are indicated by the names of cities.
The Devi can have eight attitudes
- these are the subdivisions of value with their functional aspects of Absolute Beauty.
So this verse adds distinct value-functions to the notion of the Absolute.


- Named Expansive - Visala.
- Auspicious - Kalyani.
- With crystal clarity of character.
- Invulnerable - fortified - because of blue lilies.
- By the force of blue lotus flowers. (Ayodhya - horizontal).
- Of the overflow of kindness the support.
- A certain city of sweetness.
- Of enjoyment (e.g. Paris)
- Saving (this touches the Alpha Point).
- Your regard.
- Is thus triumphant with the expanse containing many cities.
(All these enumerated names must be put into the one consciousness of the Devi: they are triumphant.)
- Intransient - the totality of these names triumphs.


Many cities are described here, each corresponding to a quality of the Devi.
This final beauty of the Absolute reigns supreme.




The glance of thine eyes is all comprehensive (Visala);
spells prosperity (Kalyani);
serenely dazzles and as such cannot be faced in battle( A-yodhya),
by blue lilies is the fountainhead of the stream of mercy (Dhara),
is superbly sweet (Madhura),
enjoys immense happiness (Bhogavati),
is the saviour (Avanti)(of the devoted);
outrivals in extensiveness (Vistaravijaya) several (other) cities;
and is indeed capable of being (appropriately) indicated by their respective names.
All glory to it!

This verse gives names to eight aspects of the beauty of the eye of the Devi.
Each, qualitatively, represents part of the beauty of the Goddess.
All can be fitted into a schema, which will produce values when meditated upon.
Do not throw away the real - it is not enough to create a vacuum called the Absolute.


The actual is abstracted and generalised to become verticalized.
The eight qualities of Her eyes are graded in a certain way.
This is a method employed by Sankara to show that anything can be reduced from the actual to the vertical.


Category - Schema
Eight cities give names to eight aspects of the beauty of the eye of the Devi:


These names have also the following meanings:




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

The (third) eye on thy forehead is somewhat red (as though) influenced by jealousy,
seeing that thy two young-bee like obliquely glancing (eyes) in their eagerness to swallow the verse rasas (poetic sentiments)
do not leave off thy pair of ears, which chiefly delight in the honey of the cluster of flowers of poetic composition.

The Guru thought each verse could be treated separately, but now finds that they can be treated IN SEQUENCES OF THREE. (This does not seem to materialise. ED)

The eyes of the Devi are straining to the ears, to see what the ears are enjoying - the nine Rasas (aesthetic interests or moods) of Sanskrit verse, the most important of which is the erotic.
The eyes are like bumblebees - doubly dark.


We have here a splendid chiaroscuro- like the shell of a bumblebee.
The eyes are tragic, full of life with tragic import.
When she hears what the poets sing of erotic mysticism,
About her beauty, her eyes turn to the ears in enjoyment
- but her third eye becomes red in protest at the lewdness of the poetry.
It is saying to the two eyes, stop being horizontal: "why don't you verticalize yourself? I am a Goddess".
This represents the same eye and power by which Kama Deva was burned by Shiva.
Pure love is to be extolled.



The story of Eros must be presented first.
This is like Schroedinger's picture. (This reference is not clear to ED.)
Every verse can be reduced and reconstructed.
Go from the real to the schema.
From the schema to the real.

Vertical eroticism versus horizontal eroticism: present the paradox involved.


The middle eye has a pink colour.
At the extremities of her two eyes there are two bumblebees hiding.
The Devi does not approve of these horizontal tendencies to appreciate the erotic aspects of poetry.
She has superior, Absolute, taste in her consciousness;
She feels that she should verticalize the tendencies.


- For poets
- That master taste enjoying in the total situation compared to a nectar-bearing bunch of blossoms.
- The extremes of the side-regards putting on the appearance of twin
small bumblebees
(they are horizontal - the bees of the eyes are whispering to the ears)
- Never leaving the ears (always whispering of eroticism).
- Agitated by the effects.
- The nine factors of taste.
- By having a touch of jealousy.
- The forehead eye.
- Has somewhat a magenta touch.

The Devi does not appreciate cheap eroticism.
The Guru decides that the two bees are extracting a horizontal factor from the poetry - but not necessarily the erotic factor - just any horizontal aspect.
Why pick on the erotic aspect?


In thinking of the Absolute (Metaphysics) and seeing the Absolute (Physics), the two are brought together.

When the notion is placed at the Alpha Point, you get a Goddess. Otherwise, we can hypostatise and get Jupiter or Zeus.This mathematical, structural language is used in science.

TIME - there is pure time and mechanistic time. (The cockcrow and the alarm clock) - these two should agree. Bergson says - do not mix these two times". Unless you know this, do not study Brahma Vidya (The Science of the Absolute).

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

(Then the Guru speaks of Hindu-Muslim relations in a historical perspective - in Mysore was the last Hindu empire, and there is still much respect for Muslims.)





(Krishna is black in order to represent India, particularly South India. There was some interest taken in Sankara by Vishnuites, around the 16th century.)

There are 8 different attitudes reflected in the eyes of the Devi:

Love for Shiva - eyes filled with moisture.
Disgust towards those who praise …. (illegible: ashes?)
Resentment at the Ganges for coming near to Shiva - she is surprised
Wonder at Shiva's exploits - Girisa
Dread at the snakes of Hara - fear.
Eclipses the beautiful colour of the Lotus.
Smiles for her comrades who consort with Shiva
Full of grace towards me (Sankara)
So the Devi's eyes have all of these qualities.

Sankara violates none of the rules of the Absolute.



Sankara is part of the structure, on the vertical axis. There are other poets, on the Horizontal axis, the Devi is not interested in them.


Two of these Rasas have no direct reference.


These are 8 or 6 attitudes that poets can take when singing praises of the Devi. Compassion is at the bottom of the vertical axis. Love is at the top, it is the kind of spearhead on which the Devi is caught. (Srngara Rasa)

The eyes turn toward the ears on hearing.

Abstract in your mind the whole of poetic discourse. Literature gives pleasure - this belongs to the absolute side of the Goddess.

She is able to verticalise a certain Srngara - erotic interest is the most dominant - thus Srngara is given the uppermost position.



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

These twelve diamonds - to the ordinary man - represent twelve distinct suns.
But the poet sees one reflected glory - a river of diamonds.
Sankara says: "surely the poet will make the mistake of seeing a bow in these diamonds - because that is nearer to the truth than just seeing diamonds".
There are twelve suns as a numerator fact: "Is it not just and fair that the poet sees one diamond's light permeating another? I am sure that he will see Indra's bow in these diamonds."
Sankara is saying that schematically all his flights correspond to the Absolute.
A river of diamonds is not the same as another river.
- At the Omega point all individual things tend to merge.
You cannot be a poet without being a philosopher and vice-versa.
Chakras - the value factor is always the same.
(Guru describes how Woodruff wrote his Tantra Shastra at second hand. (As interpreted to him by some Bengali Pundits. ED))
The Malayali pundit says that up to verse 41 it is Ananda Lahari, after that it is Saundarya Lahari.
The first 41 verses are conceived as Chakras and these are (were?) unknown in the North of India.
Thus this area of the Chakras of esoteric Devi worship has been geographically isolated.


When Sankara left his village near Alwaye, in Kerala, he went north toward Goa.
He had to go along the neglected Kerala coast - the home of esoterically minded Devi-oriented people.

The pundits will say that this was not the "real" Sankara in the first 41 verses
because they do not like the Tantra there.
The only difference between the first 41 and the last 59 is in style.
The first 41 verses are concerned with Chakras and are Dravidian),
Then in the latter part he goes on to a more descriptive language.
Pandits want to say that the first part was written by a Dravidian, the last by an Arian. But it is not true.
Sankara must have travelled all along the Kerala coast (and been familiar with the Tantra practised there. ED).
41 verses are esoteric, from Kerala - the rest speak the language of the Himalayas.



- Gone to rubyhood.
- By virtue of the sky-suns (12 suns) of each month.
- The crown closely knit. (With gems)
- Your golden. (Gold is a numerator value - known to all people)
- O daughter of the Himalayas (because he is turning to the
Hypostatic side)
- He who (intends to) praise.
- He (the poet).
- In the crown, what shade.
- Mixed radiance.
- Making a crescent.
- The bow.
- Of Indra.
- Is this not.
- Fixed.
- In his mind.

The important part is now to come.

Sankara is justifying a poet's doubting that they are just twelve suns
- he is sure to see in them Indra's bow.
The poet's job is to conceptualise
- and for the Indian poet, all brilliance and hypostatic beauty is Indra, the King of the Gods.
"I am also an Indian poet, and I am sure to do it. Don't you understand that any poet will do it".
This is an explanation of the first 41 verses.
It is natural for a poet to schematise.


If you want to place Sankara (culturally ED)- put him in the exact centre of the Kerala coast, but he also has a place in the Aryan North Indian context.
Here, he is making a transition from one style to another.
Kerala, in the South, is one cultural region - it is fond of Mantras, Tantras and Esoterics.
Sankara first writes in the style of Kerala - about hierophantic inner space (on the negative side)
- and then goes to the more conceptual, hypostatic and positive Arian context.



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

Now the transition is taking place.
He is beginning to describe the actual Goddess - starting with the hair.
This is a hypostatic, rather than a hierophantic approach.

Sankara is saying:
"Dark hair - no, double dark - will abolish my ignorance
- through double negation, it is dark-splendid".
Even darkness, like tragedy, can be enjoyed - and you can see something bright.
There is a natural perfume in the hair, coming from inside the body,
(an esoteric secret found in the Shiva Purana).

The natural fragrance of the hair (Numerator, positive)
participates with the fragrance of lilies (Denominator, negative).
These have the same unitive status.
Sankara wants you to see that you can travel from one to the other without contradiction.
He is changing his style now.
He has been indulging in the Tantric structuralism of Kerala
- now he adopts the traditional Sanskrit method, here he begins at the head and goes downwards, describing each part as he goes:
- he establishes an equation between Self and non-Self
- they have the same structure
We equate ourselves with something pure.
How can the hair of the Devi banish our ignorance?
There is a natural perfume as a counterpart to the perfume of the hair of the Devi.
The darkness here is a double darkness, which is bright and dark-splendid.

Jet-black hair has a brightness and brilliance.
"Thick, shining and soft" - not black.
Sankara is saying there is no duality between hypostatic and hierophantic values.
The denominator holiness of the flowers is the same as the numerator holiness of the hair.


- Let it clear (wipe away the blot).
- Our ignorance.
- Expanse of blooming blue lilies.
- Thick, shining and soft, the growth of hair.
- Your, o Consort of Shiva.
- This, which is the natural perfume.
- To gain (for themselves).
- Flowers.
- Live in it (with the intention of getting some of the natural perfume).
- The garden of Indra

The flowers of the garden of Indra, elevated to hypostatic, ideal flowers, are in the hair of the Devi, and they are trying to borrow the fragrance from her hair.
In Indra's heavenly garden there may be luxuries, but they are not comparable to the Absolute Beauty of the Devi.


VERSE 43 (continued)


Indra's flowers in the Devi's hair are on the positive side.
The Tantra Shastra of the first 41 verses is essentially negative in character.
Now, Sankara is going to use the language of Vedic culture
- because he was a Sanskrit scholar and knew the Shastras (scriptures) etc.
Now the hair is thick, soft and brilliant (shining) and resembles an expanse of blue lilies - blue is the hypostatic end of magenta.
Blue from the positive side and red from the negative side blend to make magenta.
There is an exchange - "we correct the darkness of our ignorance by the shining brilliance of your hair."
Indra's flowers want the perfume of the hair of the Devi - hers is an Absolute Perfume - the perfume of the flowers is relative.



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

Here, "Saundarya Lahari " is directly referred to.
This is a point of punctuation.
The preceding Tantric approach has been terminated.
It says that the parting of the hair (a "semantome"), which would generally be white, is decorated with magenta powder.
Sankara is referring to more than convention - he says, "Let this line save us.
It can save us because it is a vertical parameter, while the horizontal is negative.
The Devi's face is thus a bright parameter - it is a correlation.
As for the pundits, they will say: "there is nothing to be emotional about, it is all a joke and it is all Maya".
Ignorance is like darkness - the Devi parts it - then she paints the parting in Her dark hair in magenta to add vitality and beauty to an otherwise mathematical parameter.
So let us be saved by this parameter.
We do not need Zeus or God; this line will save us. (It is the vertical axis. ED)
A parameter is solely mathematical in nature and the whole universe can be related to it.
"The world is a machine for creating Gods" - Bergson.



- Let it confer happiness on us.
- Like the streak of the overflow.
- Of the beauty of Your face.
- The ceremonially decorated streak of women.
- Bears the vermilion.
- The gangs of enemies of
- The darkness represented by the strong hair growth.
- Ever bound
- As if it is a streak of morning sunlight (pink dawn).

Beauty has broken through the face of the Devi
- breaking barriers like a streak of white light.
A group of factors of darkness have tried to overbind even that (white) parameter - they are ganging up against the Absolute Beauty and Wisdom of this magenta-coloured parameter.
This neutral magenta streak is there to save you from ignorance.
It gives you knowledge of the Absolute and knowledge is the saving factor.


Let the streak of light bless us - why?
Because it is Numerator light.


May it bless us, the upsurging billow of the beauty of Your face,
Overflowing as a slender stream to resemble Your parted hair-line,
With vermilion dust bedecked, keeping apart the strong growth of tresses,
As if in bondage held by an anti-darkness gang to reveal the tender rays of dawn.

Thus, the parameter is given a logical status - without a horizontal dimension.
The parameter is not a road or path, which simply lies there.
Water overflowing from below, sunlight overflowing from above.
Then the magenta colour.
The magenta colour is Eros' colour