AdvaitaVedanta Website - Introduction
Saundarya Lahari Notes
Saundarya Lahari: 1969/ SLC5
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- Written by Patrick Misson
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SOURCE SLC5
SOURCE SLC5 IS A MANUSCRIPT IN C DE B´S HAND, DATED 29/9/69
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CONTENTS:
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
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P1
P1
VERSE 51
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.
P2
P3
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).
(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.
P4
(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).
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.
Sankara violates none of the rules of the Absolute.
P5
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.
Other poets are on the horizontal axis - the Devi is not interested in them.
Two of these Rasas or "moods" have no direct reference.
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P6
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.
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.
P7
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++VERSE 52
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.
P8
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.
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.
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.
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
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
Deva - ( her male counterpart) - contracting universe
These are alternating and complementary theories.
P9
VERSE 52 (2)
Res Cogitans
Res Extenso
(the vertical thinking substance and the horizontal extensive substance)
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.
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 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.
P10
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.
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.
(See STRUCTURES)
If the Devi thinks of Shiva, the disturbing influence will be absorbed and cancelled out.
(See STRUCTURES)
P11
P12
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++VERSE 53
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
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.
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.
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.
P13
The Devi is in a certain mood and the THREE GODS EXIST ONLY BECAUSE OF THIS HORIZONTALIZING FUNCTION.
Here, the distinction between black and white comes into great contrasting relief.
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)
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.
P14
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.
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.
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.
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.
Horizontally viewed, there is impermanent manifestation.
P15
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.
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..."
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..."
P16
VERSE 53
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.
STRUCTURE SLC5 - P16 - V53
This is reduction and one to one functional correspondence.
P17
P18
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P19
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VERSE 54
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.
PSYCHOLOGY IS SEX.
SEX HAS TO BE SOLVED IN AND THROUGH ITSELF.
That is the great secret of the Upanishads, crystallised by Sankara,
who wants the feet of the Devi to be put on his head.
who wants the feet of the Devi to be put on his head.
P20
"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".
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.
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.
P21
"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.
One of these flows westwards and the other eastward, the Ganges flows north-south.
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P22
Put the component parts of the structural whole together,
with reciprocity, complementarity, compensation, etc.
- it will reveal the Absolute by virtue of its content.
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.
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.
P23
P24
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VERSE 56
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?
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.
P25
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.
- 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.
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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.
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.
"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.
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.
P26
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VERSE 57
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.
"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."
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.
- 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."
"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.
P28
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,
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."
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".
P29
VERSE 57
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".
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.
P30
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.
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.
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.
But, if he has the wisdom to affiliate himself with the Absolute, then he is saved.
This is axiomatic.
P31
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VERSE 58
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.
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.
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.
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.
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.
P32
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."
"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.
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.
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.
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.
.
P32
VERSE 58
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.
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.
P34
WORD FOR WORD
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.
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.
P35
TRANSLATION
- 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")
- 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.
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
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.
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.
Length, curves and right-angles are all referred to here.
This is a perfect example of structuralism.
P37
"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?
- 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.
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.
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.
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.
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.
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.
P38
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++VERSE 59
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
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.
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.
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.
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.
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.
P39
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.
- 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.
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.
(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.
- 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.
P40
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.
- 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.
P41
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.
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.
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.
If they were really fighting, the result would be O, but it is not O, but 1.
P42
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++VERSE 60
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.
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.
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).
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.
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.
.
P43
Guru: this verse is too good to be explained.
This is the secret of Sankara: he puts together Aryan and Dravidian and gets Vedanta.
P44
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.
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).
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.
- 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.
FOLLOW ANYTHING WHOLEHEARTEDLY AND YOU WILL GET THE TRUTH.
THE PEOPLE WHO FIRST FOUND THIS STRUCTURE OF A WOMAN´S BODY WERE MEDITATING FOR EROTICISM, NOT FOR PHILOSOPHY:
BUT THEY FOLLOWED IT SO WHOLEHEARTEDLY AND COMPLETELY THAT THEY FOUND THE TRUTH INSTEAD.
THE PEOPLE WHO FIRST FOUND THIS STRUCTURE OF A WOMAN´S BODY WERE MEDITATING FOR EROTICISM, NOT FOR PHILOSOPHY:
BUT THEY FOLLOWED IT SO WHOLEHEARTEDLY AND COMPLETELY THAT THEY FOUND THE TRUTH INSTEAD.
Saundarya Lahari: 1969/ SLC6
- Details
- Written by Patrick Misson
- Parent Category: Content
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FILE SLC6
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FILE SLC6 is the continuation of file SLC5, continuing here with VERSE 61.
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CONTENTS:
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
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
P1
P1
VERSE 61
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.
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.
- 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.
P2
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".
"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.
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.
P4
VERSE 61
"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.
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.
P5
P6
P7
VERSE 61
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?
- 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?
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.
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.
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.
P8
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 62
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.
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 teeth are ashamed because they are white and pure:
"Why do you call me a cheap imitation red?"
P9
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.
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.
IMPORTANT- HOW DOES THE FLESHLY EYE SEE THAT PADDY FIELD?
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.
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.
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.
(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.
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.
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.
P11
WORD FOR WORD TRANSLATION (CONFUSED)
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.
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.
P12
P13
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 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.
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.
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.
P14
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".
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.
"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..."
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..."
P15
VERSE 62
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.
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.
P16
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 63
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.
P17
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.
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.
P18
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 64
VERSE 64
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 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.
P19
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 65
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.
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.
P20
VERSE 65
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.
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.
P21
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.
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.
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.
P21
VERSE 65
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 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.
P22
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).
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).
P23
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 66
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".
"By the beautiful shaking of the head and living words, the strings of the vina are insulted".
P24
P25
VERSE 66
WORD FOR WORD
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.
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.)
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.)
P26
.
P27
VERSE 66
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 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.
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.
- and all great minds indulge in it.
P28
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 67
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.
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.
TRANSLATION:
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 )
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 )
P28
P29
VERSE 67
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.
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".
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".
.
.
.
P30
VERSE 67
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).
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).
P31
THESE PAGES IN THE GURU'S HAND HAVE TO BE REPRODUCED FACSIMILE AS THEY ARE AMBIGUOUS AND I WOULD HESITATE TO GIVE MORE THAN TENTATIVE EXPLANATIONS.ED
P32
VERSE 67
WORD FOR WORD
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
compare
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
compare
"Your kiss cannot be compared to anything because of being Absolute".
"Where Shiva touches the handle of thy face -the mirror used for..."
"Where Shiva touches the handle of thy face -the mirror used for..."
(THIS PAGE NEEDS FURTHER TREATMENT TO DECIPHER THEN REPRODUCE ED)
P33
P34
VERSE 67
"Your face is a mirror...". When Shiva touches the handle,
it is to participate in the denominator beauty of the Devi.
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.
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.)
"And how can we describe this ineffable participation between the Numerator and the Denominator?"
(Or try to describe the "parts" which participate.)
P35
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 68
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
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.
TRANSLATION
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
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
P36
P37
VERSE 68
P38
P39
P40
VERSE 68
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
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
.
P41
VERSE 68
TRANSLATION
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.
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.
"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.
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.
P42
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.
- 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.
P43
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 69
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.
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 (?).
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...".
"For varied ragas of the three ensembles of the state of existence the limits...".
.
.
P43
P44
VERSE 69
Drop out, tune in.
Inner space, mind expansion, back to back.
Inner space, mind expansion, back to back.
.
P45
VERSE 69
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
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
TRANSLATION
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.
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.
.
P46
VERSE 69
Saundarya - beauty ...LAHARI
Sankara - acharya
Devi as Absolute.
Architectonic music (?)
Sankara - acharya
Devi as Absolute.
Architectonic music (?)
.
P47
VERSE 69
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.
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.
but the origin of the songs must belong to the husband".
There is a "marriage" between the notes and their ground.
P48
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
VERSE 70
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
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.
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.
.
P49
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.)
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.)
P50
VERSE 70
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).
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).
.
P51
VERSE 70
108 EQUALS TWO SQUARED PLUS THREE CUBES
There seems to be some question as to where the Denominator factor is to be found in schematic representation.
There seems to be some question as to where the Denominator factor is to be found in schematic representation.
.
P52
VERSE 70
TRANSLATION
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
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
P53
P54
VERSE 70
WORD FOR WORD
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
P54
VERSE 70
TRANSLATION
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...
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...
P55
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?
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.
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.
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.
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.
.
Saundarya Lahari: 1969/ SLC7a
- Details
- Written by Patrick Misson
- Parent Category: Content
- Hits: 15250
.
SOURCE SLC7
SLC7 is the continuation of SLC6, (manuscript, in C.deBruler's hand, sometimes in the Guru's hand) dating from 1969, with occasional sections from 1971, or later.
This file continues to VERSE 80.
Contains 46 pages.
This file continues to VERSE 80.
Contains 46 pages.
.
CONTENTS:
P1 to P46 - V71 toV80
P1- Verse 71
P7- Verse 72
P14- Verse 73
P18- Vest 74
P21- Verse 75
P26- Verse 76
P30- Verse 77
P32- Verse 78
P41- Verse 79
P42- Verse 80
P1
VERSE 71
THE DEVI AS THE NEGATIVE SIDE OF THE ABSOLUTE
THREE GUNAS OPERATING ON THE DENOMINATOR SIDE
THREE GUNAS OPERATING ON THE DENOMINATOR SIDE
TRANSLATION
- By the excellent brilliance of nails
- Putting to shame the newly born colour of the lotus (newly born lotus)
- Of the hands (of thy hands)
THIS IS AN ORDER TO THE POET
- Tell the glory (the poet is being ordered to tell the glory of the nail-tips
of the Devi)
RESPONSE:
- How can we say this (the Poet asks how can all the poets assembled
here describe this?)
- By whatever means (This beauty is Absolute and cannot be related to something)
- By the excellent brilliance of nails
- Putting to shame the newly born colour of the lotus (newly born lotus)
- Of the hands (of thy hands)
THIS IS AN ORDER TO THE POET
- Tell the glory (the poet is being ordered to tell the glory of the nail-tips
of the Devi)
RESPONSE:
- How can we say this (the Poet asks how can all the poets assembled
here describe this?)
- By whatever means (This beauty is Absolute and cannot be related to something)
The hands of Devi are over Her head, fingertips together,
Like a lotus blossom.
Like a lotus blossom.
.
P2
(From here this section of the translation is designated:" Lakshmi - Denominator lotus value")
(Lakshmi is the goddess of wealth ED)
(Lakshmi is the goddess of wealth ED)
TRANSLATION
-Let it attain equality of status
("What I am going to say now...")
- Even fractionally ("Think of a second lotus...")
- Alas
- If the lotus could... (Lotus of Denominator)
- If it should be hued with the red hibiscus flower on the sole
of the feet of Lakshmi
(In this way, the second lotus will try to cancel out the lotus of the Numerator.
This can only happen fractionally.)
-Let it attain equality of status
("What I am going to say now...")
- Even fractionally ("Think of a second lotus...")
- Alas
- If the lotus could... (Lotus of Denominator)
- If it should be hued with the red hibiscus flower on the sole
of the feet of Lakshmi
(In this way, the second lotus will try to cancel out the lotus of the Numerator.
This can only happen fractionally.)
.
P3
(This page is apparently in the Guru's own hand, and the structures are almost impossible to disentangle - needs facsimile treatment. ED)
VERSE 71
WORD FOR WORD
Nakhanamudyotaih - by the excellent brilliance of fingernails
Nava nalina ragam vihasatam - putting to shame the new-born colour of a lotus
Karanam te - of thy hands
Kanthim kathaya - tell the glory
Katha yamah katham - how could we tell
Ume - o Uma
Kaya chid iva - by whatever means
(Here there is a line dividing the text, and the note: "Kumaran Asan's (Famous port of Kerala, ED) version completely different by second half")
Samyam bhajatu - let it attain equality of status
Kalaya - even fractionally
Hanta! - Alas!
Kamalam yadi - if the lotus could
Kridal lakshmi caranatala laksha rasacanam - if it should be shadow-hued,
with the red hibiscus flower on the sole of the feet of Lakshmi sporting thereon
Nava nalina ragam vihasatam - putting to shame the new-born colour of a lotus
Karanam te - of thy hands
Kanthim kathaya - tell the glory
Katha yamah katham - how could we tell
Ume - o Uma
Kaya chid iva - by whatever means
(Here there is a line dividing the text, and the note: "Kumaran Asan's (Famous port of Kerala, ED) version completely different by second half")
Samyam bhajatu - let it attain equality of status
Kalaya - even fractionally
Hanta! - Alas!
Kamalam yadi - if the lotus could
Kridal lakshmi caranatala laksha rasacanam - if it should be shadow-hued,
with the red hibiscus flower on the sole of the feet of Lakshmi sporting thereon
P3
P4
.
The Devi's fingertips are at the Omega Point.
The lotus from the bottom has accepted Lakshmi, whose magenta-coloured feet dance on it.
There is something sad about a lotus in nature trying to attain parity with the magenta of the Devi.
But even after participating with Lakshmi, there is still something missing.
Poor lotus: it is not able to stabilise itself.
This is the force of "Alas!"
It has come up to the horizontal axis, but is still vibrating.
The lotus from the bottom has accepted Lakshmi, whose magenta-coloured feet dance on it.
There is something sad about a lotus in nature trying to attain parity with the magenta of the Devi.
But even after participating with Lakshmi, there is still something missing.
Poor lotus: it is not able to stabilise itself.
This is the force of "Alas!"
It has come up to the horizontal axis, but is still vibrating.
P5
.
.
P6
VERSE 71
He wants to compare the glory of the fingernails of the Devi to something, so he uses the feet of Lakshmi as on a lotus (on the negative, Denominator) for she is also a clear, transparent glory.
He wants to cancel the Numerator Lotus with the Denominator Lotus,
to resolve into the Absolute.
He wants to cancel the Numerator Lotus with the Denominator Lotus,
to resolve into the Absolute.
The beauty of the nails "reflected thereon" has an absolute status of conceptualisation and generalisation.
Think of Lakshmi, who has hibiscus juice on the soles of her feet.
Think of a beautiful woman - semi-divine.
If you can, imagine this real hierophantic beauty, giving colour to the lotus below.
Then apply all these revisions, and you can get something which comes close to cancelling out the Absolute Beauty of the Devi's nails.
Think of Lakshmi, who has hibiscus juice on the soles of her feet.
Think of a beautiful woman - semi-divine.
If you can, imagine this real hierophantic beauty, giving colour to the lotus below.
Then apply all these revisions, and you can get something which comes close to cancelling out the Absolute Beauty of the Devi's nails.
Lakshmi descends from the Numerator and touches the Denominator lotus, giving Absolute (relative) Universal Concrete status to that lotus and thus it can be compared to the Devi´s feet.
So here, some real, existent value is almost equated.
So here, some real, existent value is almost equated.
P7
VERSE 72
WORD FOR WORD
Samam devi - at once, o Devi (on underfocus)
Skanda dvipa vadana pitam stanayugam - Your twin breasts sucked by Skanda (brother of Ganesha) and Ganesha (baby elephant god and super- refined baby)
Tava idam - these thy
Nah khedam haratu - let it banish sorrow for us
Satatam - for all time
Prasnuta mukham - milk-dripping face
...which on seeing, with doubting, anxious heart
...Shiva and two others, in a manner giving cause for laughter
...his own snout, Ganesha
He passes his hands to know...by looking at breasts, he asks; "have I lost my tusks?"
...by hands quickly...(white, streaming milk represents tusks)
Samam devi - at once, o Devi (on underfocus)
Skanda dvipa vadana pitam stanayugam - Your twin breasts sucked by Skanda (brother of Ganesha) and Ganesha (baby elephant god and super- refined baby)
Tava idam - these thy
Nah khedam haratu - let it banish sorrow for us
Satatam - for all time
Prasnuta mukham - milk-dripping face
...which on seeing, with doubting, anxious heart
...Shiva and two others, in a manner giving cause for laughter
...his own snout, Ganesha
He passes his hands to know...by looking at breasts, he asks; "have I lost my tusks?"
...by hands quickly...(white, streaming milk represents tusks)
P8
.
P8
VERSE 72
WORD FOR WORD
Samam devi - at once, o Devi
Skanda dvipa vadana pitam stana yugam - the twin breasts sucked
by Skanda and Ganesha
Tava idam - these thy
Naha khedam haratu - let it banish sorrow for us
Satatam - always
Prasnuta mukham - of milk-drinking face
Yad alokya - which on seeing
Asanka kulita hrdayaha - with doubting, anxious heart
Hasa janakaha - giving cause for laughter
Sva kumbhau - on his own front of head (snout)
Herambah - the elephant god
Pari mrshati - he passes his hand to know
Hastena jhaditi - by hands quickly
Samam devi - at once, o Devi
Skanda dvipa vadana pitam stana yugam - the twin breasts sucked
by Skanda and Ganesha
Tava idam - these thy
Naha khedam haratu - let it banish sorrow for us
Satatam - always
Prasnuta mukham - of milk-drinking face
Yad alokya - which on seeing
Asanka kulita hrdayaha - with doubting, anxious heart
Hasa janakaha - giving cause for laughter
Sva kumbhau - on his own front of head (snout)
Herambah - the elephant god
Pari mrshati - he passes his hand to know
Hastena jhaditi - by hands quickly
P9
VERSE 72
Shed religions; shed the frontiers of language and politics.
Shed religions; shed the frontiers of language and politics.
.
.
P10
.
.
Wilfred Cantwell Smith - comparative religion
Suzanne Langer - Philosophy
Mircea Eliade
Bucar.... (illegible ED)
Negative hallucination
Suzanne Langer - Philosophy
Mircea Eliade
Bucar.... (illegible ED)
Negative hallucination
P11
Zone of indeterminism
Unpredicability
Unpredicability
.
.
P12
VERSE 72
The streak of milk represents the conceptual.
The tusks represent the perceptual.
Ganesha is confused as to how they participate.
Shiva and Parvati laugh because he is looking in the horizontal for the answer to a vertical problem.
The tusks represent the perceptual.
Ganesha is confused as to how they participate.
Shiva and Parvati laugh because he is looking in the horizontal for the answer to a vertical problem.
ANYTHING VERTICAL WHICH IS MADE HORIZONTAL IS CALLED A JOKE
This participation, then, is of concepts and percepts - mind and matter.
P13
VERSE 72
TRANSLATION
Thy breasts, here sucked at the same time by Skanda and Ganesha,
Let they banish our sorrows always.
The face, streaming with the overflow of milk,
Suspicious in mind, in a manner giving rise to laughter,
On his own front feels, the elephant-headed god, with hands.
Thy breasts, here sucked at the same time by Skanda and Ganesha,
Let they banish our sorrows always.
The face, streaming with the overflow of milk,
Suspicious in mind, in a manner giving rise to laughter,
On his own front feels, the elephant-headed god, with hands.
The elephant-headed god has one to one correspondence with the Devi.
He touches his face because he is on the Denominator side,
While Skanda (also known as Subrahmanya - Ganesa's brother) is Numerator.
Numerator and Denominator are nourished by the same Absolute Devi
- when you understand this, all sorrow is abolished.
He touches his face because he is on the Denominator side,
While Skanda (also known as Subrahmanya - Ganesa's brother) is Numerator.
Numerator and Denominator are nourished by the same Absolute Devi
- when you understand this, all sorrow is abolished.
Ganesha thinks that the streams of milk from the Devi's breasts
are the tusks of an elephant - and he puts his hands on his own face,
as if to say, "Am I not the elephant-headed one?"
There is a one-to-one correspondence established between Ganesha and the Devi.
Not between Skanda and the Devi, because he is a numerator god while Ganesha is denominator.
are the tusks of an elephant - and he puts his hands on his own face,
as if to say, "Am I not the elephant-headed one?"
There is a one-to-one correspondence established between Ganesha and the Devi.
Not between Skanda and the Devi, because he is a numerator god while Ganesha is denominator.
P14
VERSE 73
In the previous verse, the horizontal difference between the two gods was noted,
now we have the vertical difference.
Horizontally, the tusks are put on a par with the milk of the Mother
- the tusks contain the principle of interpenetrability.
To arrive at a neutral ground, the tusks and the milk become homogeneous.
The horizontal axis is a value; thus tusks and milk are introduced.
In this verse we have a vertical reference.
now we have the vertical difference.
Horizontally, the tusks are put on a par with the milk of the Mother
- the tusks contain the principle of interpenetrability.
To arrive at a neutral ground, the tusks and the milk become homogeneous.
The horizontal axis is a value; thus tusks and milk are introduced.
In this verse we have a vertical reference.
VERSE 73
TRANSLATION
These Thy breasts born (abstracted and generalised)
breasts, both together,
Are gem containers filled with ambrosia
(not breasts filled with milk - vertical - gems are superior to milk)
There is no alternating feeling of doubt here (spandaha)
(Uncertainty exists horizontally, and we have not entered that region here
- see previous verse)
O triumphant banner of the Lord of Hills
(the Devi is related to Shiva),
In our minds, (conceptual status - "our" means " we who seek the Absolute)
These two who drink of the two, by this reason
(because they drink of this hypostatic ambrosia)
Are those twins who have never known conjugal felicity,
The youths, even today: Skanda and Ganesha.
(Even now they are innocent of that aspect of sex which is horizontal)
Sometime after the previous verse, they remain innocent.
These Thy breasts born (abstracted and generalised)
breasts, both together,
Are gem containers filled with ambrosia
(not breasts filled with milk - vertical - gems are superior to milk)
There is no alternating feeling of doubt here (spandaha)
(Uncertainty exists horizontally, and we have not entered that region here
- see previous verse)
O triumphant banner of the Lord of Hills
(the Devi is related to Shiva),
In our minds, (conceptual status - "our" means " we who seek the Absolute)
These two who drink of the two, by this reason
(because they drink of this hypostatic ambrosia)
Are those twins who have never known conjugal felicity,
The youths, even today: Skanda and Ganesha.
(Even now they are innocent of that aspect of sex which is horizontal)
Sometime after the previous verse, they remain innocent.
P15
VERSE 73
.
.
WORD FOR WORD
Amu te vakshojav - these thy bosom born breasts
Amrta rasa manikya kutupau - are gem containers filled with ambrosia
Na sandeha spandah - there is no alternating movement of doubt here
Naga pati patake - o triumphant banner of the Lord of Hills
(hills? snakes? ED)
Manasi naha - in our minds
Pibantau tau - these two who drink of the two
Yasmad - by this reason
Avidita vadhu sanga rasikau - are these (two) who have never known conjugal felicity
Kumarau adi api - the youths even today
Dvirada vadana krauncha dalanau - the Skanda Ganeshas (?ED)
Amu te vakshojav - these thy bosom born breasts
Amrta rasa manikya kutupau - are gem containers filled with ambrosia
Na sandeha spandah - there is no alternating movement of doubt here
Naga pati patake - o triumphant banner of the Lord of Hills
(hills? snakes? ED)
Manasi naha - in our minds
Pibantau tau - these two who drink of the two
Yasmad - by this reason
Avidita vadhu sanga rasikau - are these (two) who have never known conjugal felicity
Kumarau adi api - the youths even today
Dvirada vadana krauncha dalanau - the Skanda Ganeshas (?ED)
P16
.
.
VERSE 73
TRANSLATION
These two breasts, o daughter of the mountain, contain gems.
Drinking from these, Subrahmanya and Ganesha are eternally free from erotic sentiments.
Even now, they are innocent of copulation.
These two breasts, o daughter of the mountain, contain gems.
Drinking from these, Subrahmanya and Ganesha are eternally free from erotic sentiments.
Even now, they are innocent of copulation.
Instead of milk, which is horizontal, they are nourished on a more negative, real and vertical content of ruby-like purity - the chalices of the breasts - which are filled with hypostatic nectar.
P18
VERSE 74
An elephant-god was killed by Shiva. The Devi wears a garland which praises this feat, made of rounded and polished pearls, hanging between her breasts, having a reflected colours from her lips,
with an inner glory of their own, as if this glory is to extol the exploits of Shiva. (E.g. killing the elephant. ED
with an inner glory of their own, as if this glory is to extol the exploits of Shiva. (E.g. killing the elephant. ED
The Devi is saying: "My husband is a great numerator factor who killed an asura (demon) "
At every level, there is participation.
At every level, there is participation.
This garland or necklace is made of pearls found in the head of an elephant killed by Shiva.
It is between the breasts and also has the reflected colour of her lips from inside.
Outside is the glory of Shiva's exploits.
It is between the breasts and also has the reflected colour of her lips from inside.
Outside is the glory of Shiva's exploits.
The praise for Shiva comes from the lips whose colour tinges the necklace of pearls.
Between the breasts there is a parameter.
The pearls there are supposed to cancel numerator pearls.
The glory is intrinsic to the Denominator, thus the red colour, which comes from inside, because this is the existential side.
The pearls there are supposed to cancel numerator pearls.
The glory is intrinsic to the Denominator, thus the red colour, which comes from inside, because this is the existential side.
What is Numerator is public.
What is Denominator is private (interior)
What is Denominator is private (interior)
Thus the horizontal lips praise Shiva downwards
-hence the colour of the lips inside the pearls
Upwards as a counterpart is the pure white glory of the pearls.
-hence the colour of the lips inside the pearls
Upwards as a counterpart is the pure white glory of the pearls.
In the Denominator - "God is within" (within your consciousness);
and consciousness begins at the mouth - when something is swallowed.
and consciousness begins at the mouth - when something is swallowed.
P19
The colour is intrinsically, interiorly, derived on the Denominator side.
The inner colour of the pearls is derived from the lips.
The inner colour of the pearls is derived from the lips.
P20
VERSE 74
This verse goes into the subjective aspect of the two previous verses.
TRANSLATION
It bears (the garland) of pearls
O Mother (Devi)
Having origin (pearls) within the hard (thick) skull of the elephant principle
(which is an obstructing influence - represents the demon principle)
By well made pearls
of the pure string of pearls
The mid-region of the breasts (not the quantitative breasts)
By the reflected beauty of the lips
Having inside brilliance (meditative values)
Mixed up with fame (glory of heroic exploit = having killed the elephant)
Of the destroyer of the cities, as if the reputation of Yours...
You are glorified by the garland which has both Numerator and
Denominator value - which is beautifully worked (meditated upon),
and whose colour is tinted red by the lips of the Devi.
It bears (the garland) of pearls
O Mother (Devi)
Having origin (pearls) within the hard (thick) skull of the elephant principle
(which is an obstructing influence - represents the demon principle)
By well made pearls
of the pure string of pearls
The mid-region of the breasts (not the quantitative breasts)
By the reflected beauty of the lips
Having inside brilliance (meditative values)
Mixed up with fame (glory of heroic exploit = having killed the elephant)
Of the destroyer of the cities, as if the reputation of Yours...
You are glorified by the garland which has both Numerator and
Denominator value - which is beautifully worked (meditated upon),
and whose colour is tinted red by the lips of the Devi.
.
.
P21
VERSE 74
WORD FOR WORD
Vahati - it bears
Ambe - o Mother
Stambera madanuja kumbha prakrti bhih - of the nature of having origin in the skull of the elephant demon
Sama rabdham mukta mani bhih - by well-made pearls
Amalam hara latikam - by the pure string of pearls
Kucha bhogah - the mid-region of the breasts
Bimba dhara ruchi bhih - by the reflected beauty of the lips
Antah shabalitam - having inside brilliance
Pratapa vyamishram - mixed with the glory of exploits
Pura damayituh - of the destroyer of cities
Kirtim iva - as if the reputation
Te - of Yours
Vahati - it bears
Ambe - o Mother
Stambera madanuja kumbha prakrti bhih - of the nature of having origin in the skull of the elephant demon
Sama rabdham mukta mani bhih - by well-made pearls
Amalam hara latikam - by the pure string of pearls
Kucha bhogah - the mid-region of the breasts
Bimba dhara ruchi bhih - by the reflected beauty of the lips
Antah shabalitam - having inside brilliance
Pratapa vyamishram - mixed with the glory of exploits
Pura damayituh - of the destroyer of cities
Kirtim iva - as if the reputation
Te - of Yours
SLC7 - P21
P22
P23
VERSE 75
WORD FOR WORD
Tava stanyam manye - Your breasts, I consider
Dharani dhara kanye - Of the earth-supporter, the maid
Hrdayatah - from the heart
Payah paravarah - milk ocean
Parivahati - bears aloft
Saraswatam - of Saraswati
Iva dayavatya - of a kindly one as if
Dattam - given
Dravida shishur - of the Dravidian child
Asvadya tava - having drunk of thine
Yat - by reason
Kavinam praudhanam - into famous poets
Ajani - has come to be born
Kamaniyah kavayitah - a perfectly beautiful poet.
Tava stanyam manye - Your breasts, I consider
Dharani dhara kanye - Of the earth-supporter, the maid
Hrdayatah - from the heart
Payah paravarah - milk ocean
Parivahati - bears aloft
Saraswatam - of Saraswati
Iva dayavatya - of a kindly one as if
Dattam - given
Dravida shishur - of the Dravidian child
Asvadya tava - having drunk of thine
Yat - by reason
Kavinam praudhanam - into famous poets
Ajani - has come to be born
Kamaniyah kavayitah - a perfectly beautiful poet.
.
.
P24
P25
VERSE 75
We have come from the breasts to the heart.
Saraswati is the Numerator aspect of the Devi here indicated
Lakshmi is the Denominator.
Lakshmi is the Denominator.
"As if belonging to Saraswati" (the Goddess of Learning) and drinking that (Numerator),
the denominator Dravidian child (dravida shishyu) has become very learned
- absorbing the Wisdom of the Aryans.
By absorbing the numerator-side wisdom, there is a participation now established between Numerator and Denominator.
the denominator Dravidian child (dravida shishyu) has become very learned
- absorbing the Wisdom of the Aryans.
By absorbing the numerator-side wisdom, there is a participation now established between Numerator and Denominator.
Now we have an ocean of milk
- and why does it come from the heart and not the breasts?
- and why does it come from the heart and not the breasts?
Here the beauty is the poetry:
Denominator - Dravida Shishyu (the "Dravidian child")
Numerator - Aryan wisdom
When these two sides participate, you get the beauty of pure poetry.
The kindness comes from the heart and fills the Numerator side, like an ocean.
Numerator - Aryan wisdom
When these two sides participate, you get the beauty of pure poetry.
The kindness comes from the heart and fills the Numerator side, like an ocean.
P26
VERSE 76
WORD FOR WORD
Hara krodha jvala vali bhih - by the collection of glances of fire
/by the ensembles of the glances of fire of the anger of Hara
Avalidhena vapusha - with body permeated through and through
Gabhire te nabhi sarasi - in the deep navel-lake of thine
Krta sangah - one who has submerged himself
Manasijah samuttasthau - Eros rising up
Tasmad - from it (from this sinking)
Achala tanaye - o Daughter of the Hills
Dhuma latika - smoke streak
Janah stam - people, them
Janite - treat it like
Janani tava roma valir iti - o Mother, to be Your hairy ensembles
(Mount Tamalpais) (sic - see the Guru's autobiography. ED)
Hara krodha jvala vali bhih - by the collection of glances of fire
/by the ensembles of the glances of fire of the anger of Hara
Avalidhena vapusha - with body permeated through and through
Gabhire te nabhi sarasi - in the deep navel-lake of thine
Krta sangah - one who has submerged himself
Manasijah samuttasthau - Eros rising up
Tasmad - from it (from this sinking)
Achala tanaye - o Daughter of the Hills
Dhuma latika - smoke streak
Janah stam - people, them
Janite - treat it like
Janani tava roma valir iti - o Mother, to be Your hairy ensembles
(Mount Tamalpais) (sic - see the Guru's autobiography. ED)
.
.
.
P27
P28
VERSE 76
The vertical axis passes from between the breasts into the navel,
and there it becomes an interior parameter - a Denominator factor (for the next verses).
Ripples on the river seem to be a slight disturbance on the horizontal when it is met by the vertical.
The waist is referred to also as slim - it is a kind of parameter.
The beauty here is something vague.
"There are some people with great insight who will see something very slender at Your navel, and will see a slight delicate interplay, like ripples.
The hollow of Your navel is filled with these, and that is where the attenuated space from between the breasts is entering".
The thinness of the waist means that this is only a thin parameter connecting Numerator and Denominator aspects of the Devi's body.
When noumenal (positive) meets phenomenal (negative), there is a delicate touch of ripples such as found on the surface of a river when a gentle breeze blows.
and there it becomes an interior parameter - a Denominator factor (for the next verses).
Ripples on the river seem to be a slight disturbance on the horizontal when it is met by the vertical.
The waist is referred to also as slim - it is a kind of parameter.
The beauty here is something vague.
"There are some people with great insight who will see something very slender at Your navel, and will see a slight delicate interplay, like ripples.
The hollow of Your navel is filled with these, and that is where the attenuated space from between the breasts is entering".
The thinness of the waist means that this is only a thin parameter connecting Numerator and Denominator aspects of the Devi's body.
When noumenal (positive) meets phenomenal (negative), there is a delicate touch of ripples such as found on the surface of a river when a gentle breeze blows.
P29
VERSE 76
By the anger of Shiva, Kama is caused to burn; he sinks into the navel of the Devi in order to quench the flames.
The milk ocean is at a certain level.
Why is there fire suddenly at the area of the navel?
Because this man is suffering from the contradiction of actualisation.
The milk ocean is at a certain level.
Why is there fire suddenly at the area of the navel?
Because this man is suffering from the contradiction of actualisation.
Saraswati's milk is not harmful to the Devi, because it is conceptual or numerator.
But when you get to the Denominator, perceptual factors are mutually exclusive
- the character of the vertical axis is now changed from water to fire.
When a man is erotic, he is likely to be pushing out some rival.
Eros is an entity belonging to that level, so he cannot sink forever.
He has a degree of immortality, and so he has to come back onto the scene.
He has to come there week by week.
But when you get to the Denominator, perceptual factors are mutually exclusive
- the character of the vertical axis is now changed from water to fire.
When a man is erotic, he is likely to be pushing out some rival.
Eros is an entity belonging to that level, so he cannot sink forever.
He has a degree of immortality, and so he has to come back onto the scene.
He has to come there week by week.
P30
VERSE 77
WORD FOR WORD
Yadetat - gleaming (with a sheen)
Kalindi tanutara taranga krtih - of the form of the slender or
fine ripples on the surface of the river Kalindi
Shive - o Shiva - consort
Krshe madhye - with thin middle part
Kimchit - something
Janani - mother
Tava yat - that which is Yours
Bhati sudhiyam - to learned and good devotees it shines (as)
Vimardad anyonyam kucha kala shayoh - by mutual impact of the
water-pot-shaped breasts
Antara gatam - what lies between
Tanu bhutam vyomam - made into a thin, schematic factor
(sky-space: "bhutam vyomam")
Pravishad iva - as if entering
Nabhim kuharinim - the nave, an orifice or opening
Yadetat - gleaming (with a sheen)
Kalindi tanutara taranga krtih - of the form of the slender or
fine ripples on the surface of the river Kalindi
Shive - o Shiva - consort
Krshe madhye - with thin middle part
Kimchit - something
Janani - mother
Tava yat - that which is Yours
Bhati sudhiyam - to learned and good devotees it shines (as)
Vimardad anyonyam kucha kala shayoh - by mutual impact of the
water-pot-shaped breasts
Antara gatam - what lies between
Tanu bhutam vyomam - made into a thin, schematic factor
(sky-space: "bhutam vyomam")
Pravishad iva - as if entering
Nabhim kuharinim - the nave, an orifice or opening
P31
VERSE 77
For the next five verses Sankara talks about the stomach and navel of a woman as an area which materialises the Absolute.
The Devi is here treated as a universal concrete.
The Devi is here treated as a universal concrete.
TRANSLATION
Gleaming (with a sheen) of the form of the slender (or fine) ripples on the surface of the river Kalindi
O consort of Shiva
With thin middle part (waist)
Something (which resembles the shining of the ripples)
O Mother
That which is yours
To learned and good devotees it shines (as)
By mutual harsh contact (impact)of the water-pot-like shaped breasts
What lies between
The sky-space made into a thin string (schematic factor), (reduced into the vertical)
As if entering the navel /orifice leading into (navel), (the sky which has been pulverised by the two breasts, enters into the navel)
O consort of Shiva
With thin middle part (waist)
Something (which resembles the shining of the ripples)
O Mother
That which is yours
To learned and good devotees it shines (as)
By mutual harsh contact (impact)of the water-pot-like shaped breasts
What lies between
The sky-space made into a thin string (schematic factor), (reduced into the vertical)
As if entering the navel /orifice leading into (navel), (the sky which has been pulverised by the two breasts, enters into the navel)
.
.
Schemas - what are the ripples on the water?
P32
VERSE 78
The body is bent in fatigue.
The tree is standing upright (it shows vitality).
In Verses 77 and 78 these two aspects come together in pure meditation to show Absolute Beauty.
Eroticism too has a Numerator and a Denominator side.
"Bent forward, almost broken, sliding bank" - all these are to show the sinus curve.
Salvation means long years of happiness.
The tree is standing upright (it shows vitality).
In Verses 77 and 78 these two aspects come together in pure meditation to show Absolute Beauty.
Eroticism too has a Numerator and a Denominator side.
"Bent forward, almost broken, sliding bank" - all these are to show the sinus curve.
Salvation means long years of happiness.
.
.
.
.
Fatigue, bending, broken shape, sliding, fast river.
P34
Verses 77 and 78 are always alternating from the horizontal to the vertical.
THERE IS AN INVERSION OF PAGES HERE- P40 COMES BEFORE PAGE 34 - TO BE CORRECTED
P40 (PAGE MISNUMBERED IN ORIGINAL MANUSCRIPT)
VERSE 78
TRANSLATION
The permanent whirlpool of the Ganges it is (or "thou art")
The bed of fecundity for the hair creeper bearing the buds of breasts
The fire sacrifice receptacle wherein the bright glory of the god of flower arrow is offered
House (or ground) for the play of the female companion of the god Eros
Somehow or other (by hook or by crook)
Your navel, o Daughter of the Mountain
The bed of fecundity for the hair creeper bearing the buds of breasts
The fire sacrifice receptacle wherein the bright glory of the god of flower arrow is offered
House (or ground) for the play of the female companion of the god Eros
Somehow or other (by hook or by crook)
Your navel, o Daughter of the Mountain
.
.
The eternally flowing Ganges
- think of the whirlpool and Kundam (the sacrificial pit) as the same thing - the source of Eros.
Hystology says that milk comes from the hair of the body.
- think of the whirlpool and Kundam (the sacrificial pit) as the same thing - the source of Eros.
Hystology says that milk comes from the hair of the body.
.
Kundam - again a sacrificial pit, emptiness, but not devoid of content.
All this fire and passion is the negative Absolute which can destroy.
The playground for the female companion of Eros is again the whirlpool
All this fire and passion is the negative Absolute which can destroy.
The playground for the female companion of Eros is again the whirlpool
P41
VERSE 78
WORD FOR WORD
Sthiro ganga vartah - the permanent whirlpool of the Ganges it is (Thou art)
Stana mukula roma valilata kala valam - the bed of fecundity for the hairy creeper bearing the buds of breasts
Kundam kusuma shara tejo huta bhujah - the fire sacrifice receptacle where the bright glory of the god of flower arrow is offered
Rateh lila garam - a house (or ground) for the play of Rati, the female counterpart of Eros
Kim api - somehow or other (by hook...)
Tava nabhih giri sute - Your navel, o Daughter of the Mountain
Bilad varam siddhah girisha nayanam vijayate - of the Lord of the Mountain, the door of the subterranean hole for the
.....(ILLEGIBLE)...psychic prowess, in the eye of Shiva.
Sthiro ganga vartah - the permanent whirlpool of the Ganges it is (Thou art)
Stana mukula roma valilata kala valam - the bed of fecundity for the hairy creeper bearing the buds of breasts
Kundam kusuma shara tejo huta bhujah - the fire sacrifice receptacle where the bright glory of the god of flower arrow is offered
Rateh lila garam - a house (or ground) for the play of Rati, the female counterpart of Eros
Kim api - somehow or other (by hook...)
Tava nabhih giri sute - Your navel, o Daughter of the Mountain
Bilad varam siddhah girisha nayanam vijayate - of the Lord of the Mountain, the door of the subterranean hole for the
.....(ILLEGIBLE)...psychic prowess, in the eye of Shiva.
P34
VERSE 79
TRANSLATION
By nature (weakened or thinned - or emaciated)
By the weight of the heaving breasts attaining to fatigue
With form bending down (prostrating)
O perfect spot of womanly beauty (the spot placed by Indian women between the eyebrows)
As if about to break (one part of the breast from the other) (see structure)
For long years
In the middle region of thine (see structure)
Resembling a tree on a brook bank sliding down
Having a firmness equal to it
Let it bless
O Daughter of the Himalayas
Let the devotee attain long years of bliss by meditating on the middle part of this Goddess.
By nature (weakened or thinned - or emaciated)
By the weight of the heaving breasts attaining to fatigue
With form bending down (prostrating)
O perfect spot of womanly beauty (the spot placed by Indian women between the eyebrows)
As if about to break (one part of the breast from the other) (see structure)
For long years
In the middle region of thine (see structure)
Resembling a tree on a brook bank sliding down
Having a firmness equal to it
Let it bless
O Daughter of the Himalayas
Let the devotee attain long years of bliss by meditating on the middle part of this Goddess.
.
.
Numerator fecundity, Denominator fertility; divided by a tragic line, which is the breaking point.
At the bottom of the structure is the square root of minus one
Breaking peripherally due to fecundity of breasts - but still intact within.
A tragic line about to break.
A tragic line about to break.
.
TRANSLATION
By very nature fatigued (emaciated or tired)
By the weight of breasts' bank (like the bank of a river)
What has become fatigued
With the form recumbent (as in humility or prayer)
O crowning forehead red mark of perfection of women (nari tilaka).
As if broken a little (peripherally broken, but within still intact)
For long (let this meditation give contemplative content...
Of Your middle part
Broken (slid down or disrupted) brook bank tree as comparable
To hyper-fecundity in the nature of woman)
(A mound has been formed on which a tree can grow)
Let the devotee think of this comparison
Having resemblances (by the analogy )
Let it bring blessings, O Daughter of the Mountain
By the weight of breasts' bank (like the bank of a river)
What has become fatigued
With the form recumbent (as in humility or prayer)
O crowning forehead red mark of perfection of women (nari tilaka).
As if broken a little (peripherally broken, but within still intact)
For long (let this meditation give contemplative content...
Of Your middle part
Broken (slid down or disrupted) brook bank tree as comparable
To hyper-fecundity in the nature of woman)
(A mound has been formed on which a tree can grow)
Let the devotee think of this comparison
Having resemblances (by the analogy )
Let it bring blessings, O Daughter of the Mountain
P36
VERSE 79
A certain suffering of motherhood is eternal by nature
TRANSLATION
By the protuberance of the breasts there is fatigue
With form bowing down
O perfected woman (tired woman is the perfect lover.
As if broken
For long
Of your middle part
As comparable to the broken brook-bank tree
They have got equality or resemblance (with Your middle part)
Let this meditation on this resemblance bring peace
(vision of the Absolute)
With form bowing down
O perfected woman (tired woman is the perfect lover.
As if broken
For long
Of your middle part
As comparable to the broken brook-bank tree
They have got equality or resemblance (with Your middle part)
Let this meditation on this resemblance bring peace
(vision of the Absolute)
.
.
At the centre is a tragic line and a breaking point - her waist is almost broken.
P37
VERSE 79
WORD FOR WORD
Nisarga kshinasya - by nature (weakened or thinned, emaciated)
Stana tata bharena klamajusoh - by the weight of the heaving
breasts attaining to fatigue
Naman murteh - with form bending down
Nari tilaka - perfected spot of womanly beauty
Shanakaih trutyta iva - as if about to break
Chiram - for long years
Te madhyasya - in the middle region of thine
Trutita tatini tira taruna - resembling a tree on the bank of a brook slid down
Sama vastah stemnah - having a firmness equal to it
Bhavatu kushalam - let it bless
Shaila tanaye - o daughter of the mountain.
Nisarga kshinasya - by nature (weakened or thinned, emaciated)
Stana tata bharena klamajusoh - by the weight of the heaving
breasts attaining to fatigue
Naman murteh - with form bending down
Nari tilaka - perfected spot of womanly beauty
Shanakaih trutyta iva - as if about to break
Chiram - for long years
Te madhyasya - in the middle region of thine
Trutita tatini tira taruna - resembling a tree on the bank of a brook slid down
Sama vastah stemnah - having a firmness equal to it
Bhavatu kushalam - let it bless
Shaila tanaye - o daughter of the mountain.
SLC7 - P38
.
VERSE 79
WORD FOR WORD
Nisharga kshinasya - by very nature fatigued, emaciated or tired
(By the weight of the breast bank, what has come to have fatigue)
Naman murteh - with form bowing down
Nari tilaka - o crowning forehead red mark of perfection of womanhood
Shanakais trutya iva - as if broken a little
Chiram - for long
Te madhyasya - of Your middle part
Trutita tatini tira taruna - broken (slid down, disrupted)
brook bank tree as comparable to
Sama vastha themnah - having resemblances
Bhavatu kushalam - let it bring blessings
Shaila tanaye - o Daughter of the Mountain
(By the weight of the breast bank, what has come to have fatigue)
Naman murteh - with form bowing down
Nari tilaka - o crowning forehead red mark of perfection of womanhood
Shanakais trutya iva - as if broken a little
Chiram - for long
Te madhyasya - of Your middle part
Trutita tatini tira taruna - broken (slid down, disrupted)
brook bank tree as comparable to
Sama vastha themnah - having resemblances
Bhavatu kushalam - let it bring blessings
Shaila tanaye - o Daughter of the Mountain
There is a parallel between this structure and the multiplication table of 9
- 18, 27, 36 etc is mirrored by 81, 72, 63, 54 etc.
P42
VERSE 80
WORD FOR WORD
Kuchau - the twin breasts
Sadya svidyat tata ghatita kurpasa bhidurau - bursting the brassiere which has just been put on them while perspiring
Kashantau dormule - pressing on the armpit region
Kanaka kalasha abhau - having the lustre of golden water pots
Kalayata - manufactured, made
Tava - Your
Tratum - to save
Bhangat alam iti - saying "Do not!" - from being broken up
Valagnam - the middle region
Tanu bhuva tridha naddham - by three rounds (loops) has bound, the god of love
Devi - Devi
Tri vali lavali valli bhih - by triple branch creeper of Lavali
creeper
Iva - as if
Sadya svidyat tata ghatita kurpasa bhidurau - bursting the brassiere which has just been put on them while perspiring
Kashantau dormule - pressing on the armpit region
Kanaka kalasha abhau - having the lustre of golden water pots
Kalayata - manufactured, made
Tava - Your
Tratum - to save
Bhangat alam iti - saying "Do not!" - from being broken up
Valagnam - the middle region
Tanu bhuva tridha naddham - by three rounds (loops) has bound, the god of love
Devi - Devi
Tri vali lavali valli bhih - by triple branch creeper of Lavali
creeper
Iva - as if
P43
VERSE 80
This is psychological structuralism realistically analysed.
P44
VERSE 80
TRANSLATION
1 - The twin breasts
2 - Bursting the brassiere that has just been bound on them while perspiring
3 - Pressing on the armpits region
4 - Having the lustre of golden water pots
5 - Manufactured, made
6 - Your
7 - To save
8 - Saying : "Do not!" - from being broken up
9 - The middle region
10 - By three rounds has bound the God of Love
11 - Devi
12 - By triple-branched creeper of Lavali
13 - As if
1 - The twin breasts
2 - Bursting the brassiere that has just been bound on them while perspiring
3 - Pressing on the armpits region
4 - Having the lustre of golden water pots
5 - Manufactured, made
6 - Your
7 - To save
8 - Saying : "Do not!" - from being broken up
9 - The middle region
10 - By three rounds has bound the God of Love
11 - Devi
12 - By triple-branched creeper of Lavali
13 - As if
P45
.
COMMENTARY ON WORD FOR WORD OF PREVIOUS PAGE
1 - ...
2 - Perspiring - representing the Universal Absolute. Shiva the husband, watches as Eros is the cause of the perspiration.
The brassiere is just put on, and the breasts are bursting through it - a PRESENT erotic picture.
3 - The breasts want to burst in every direction, not just forward
4 - In the west they would be called "ivory"
5 - Breasts are not made by the woman herself. Eros has entered into Her as a horizontal factor and manufactured this state.
6 - "Your" refers to the middle region of the Devi
7 - To save - Eros feels responsible
8 - Saying...any more eroticism will burst the middle
9 - the middle region
10 - Eros has said: "If You act like this, I am going to bind Your middle with three strands".
He is concerned.
2 - Perspiring - representing the Universal Absolute. Shiva the husband, watches as Eros is the cause of the perspiration.
The brassiere is just put on, and the breasts are bursting through it - a PRESENT erotic picture.
3 - The breasts want to burst in every direction, not just forward
4 - In the west they would be called "ivory"
5 - Breasts are not made by the woman herself. Eros has entered into Her as a horizontal factor and manufactured this state.
6 - "Your" refers to the middle region of the Devi
7 - To save - Eros feels responsible
8 - Saying...any more eroticism will burst the middle
9 - the middle region
10 - Eros has said: "If You act like this, I am going to bind Your middle with three strands".
He is concerned.
The horizontal tendencies in a woman manifest themselves in the breasts.
Concern is thus directed towards binding the middle and....(ILLEGIBLE)
There is vertical binding to prevent the horizontal from flying apart.
Eros binds by three bindings - to unite it organically with a lower pole
- to prevent breaking at the waist.
Logarithmic spirals are proceeding from the same source, due to Eros
-they are not organically separated.
This is realistically analysed from the point of view of Eros, as an agent of biological, hierophantic functions he is not in charge of the origin of the creeper, but only of the binding.
Concern is thus directed towards binding the middle and....(ILLEGIBLE)
There is vertical binding to prevent the horizontal from flying apart.
Eros binds by three bindings - to unite it organically with a lower pole
- to prevent breaking at the waist.
Logarithmic spirals are proceeding from the same source, due to Eros
-they are not organically separated.
This is realistically analysed from the point of view of Eros, as an agent of biological, hierophantic functions he is not in charge of the origin of the creeper, but only of the binding.
P46
Saundarya Lahari: 1969/ SLC7b (X1)
- Details
- Written by Patrick Misson
- Parent Category: Content
- Hits: 15609
SOURCE SLX1or SLC7B
FOLLOWS SLC7
FOLLOWS SLC7
CONTENTS:
PAGES 1 TO 42 manuscript sheets in Curran de Bruler's hand, on SL Verses 81 to 90.
P1- Verse 81
P5- Verse 82
P9- Verse 83
P13- Verse 84
P17- Verse 85
P20- Verses 86, 87, 88 89,91
P22- Verse 86
P25- Verse 87
P29- Verse 88
P34- Verse 89
P38- Verse 90
SLX1 - P1
VERSE 81
Eros is a kind of…in this verse..(illegible) the Devi as well as a result of absolute pressure.
The Devi's husband (Shiva) is high Numerator and will not descend.
Eros does the job.
These three bindings are the vertical compensation for the horizontal swelling of the breasts, and prevent the vertical axis from breaking.
The Devi's husband (Shiva) is high Numerator and will not descend.
Eros does the job.
These three bindings are the vertical compensation for the horizontal swelling of the breasts, and prevent the vertical axis from breaking.
TRANSLATION
1 - Heaviness and expansiveness
2 - The earth-supporting Lord, O Parvati
3 - Having taken from his own hind part
4 - To you as dowry
5 - Gave
6 - By reason of this, your
7 - One is expansive and heavy
8 - The anterior weight of your hips
(before marriage it is expansive, and after it becomes thin)
9 - Is made to shrink
10 - Make it have lightness also
1 - Heaviness and expansiveness
2 - The earth-supporting Lord, O Parvati
3 - Having taken from his own hind part
4 - To you as dowry
5 - Gave
6 - By reason of this, your
7 - One is expansive and heavy
8 - The anterior weight of your hips
(before marriage it is expansive, and after it becomes thin)
9 - Is made to shrink
10 - Make it have lightness also
VERSE 81
The god gives from his own behind to balance the Denominator (Devi) with the Numerator.
This is like inertia and field quality - gravitation and electromagnetic field.
It retains the Numerator for itself and gives also to the Denominator.
By reason of the preciousness of the Devi, Shiva gives the hierophantic aspect of himself as dowry - e.g.: the hind part.
The horizontal piece of ground - horizontalized space - has mass and breadth.
That kind of heaviness which is presupposed (like that of a concierge) is taken away.
The Devi becomes slim - by way of the Numerator supplied expansiveness and the abolished Numerator gives mass and weight to the Denominator.
The Denominator meditates on the Numerator and expansiveness is eliminated by reciprocation...
This is like inertia and field quality - gravitation and electromagnetic field.
It retains the Numerator for itself and gives also to the Denominator.
By reason of the preciousness of the Devi, Shiva gives the hierophantic aspect of himself as dowry - e.g.: the hind part.
The horizontal piece of ground - horizontalized space - has mass and breadth.
That kind of heaviness which is presupposed (like that of a concierge) is taken away.
The Devi becomes slim - by way of the Numerator supplied expansiveness and the abolished Numerator gives mass and weight to the Denominator.
The Denominator meditates on the Numerator and expansiveness is eliminated by reciprocation...
The Himalayas have horizontal expansiveness, but a qualitative dignity, which is the height of the mountains.
This gives a quantitative aspect to the Devi so that She becomes slim and endowed with high value.
The Devi must have a Numerator factor to balance the Denominator.
This is the secret for wisdom and ultimate salvation.
This gives a quantitative aspect to the Devi so that She becomes slim and endowed with high value.
The Devi must have a Numerator factor to balance the Denominator.
This is the secret for wisdom and ultimate salvation.
SLX1 - P2
VERSE 81
WORD FOR WORD
Gurutvam vishtaram - heaviness and expansiveness
Kshitidhara patih - the earth-supporting lord
Parvati - O Parvati
Nijat nitambadacchidya - having taken from his own behind part
Tvayi harana rupena - to you as dowry
Nidadhe - gave
Atah te - by reason of this, your
Vistirno gurur ayam - one is expansive and heavy
(Asesam vasumatim - ? not here Nitamba Pragbharah)
- the anterior weight of your hips
Sthagayati - is made to shrink
Laghutvam nayati cha - makes it have lightness also.
Gurutvam vishtaram - heaviness and expansiveness
Kshitidhara patih - the earth-supporting lord
Parvati - O Parvati
Nijat nitambadacchidya - having taken from his own behind part
Tvayi harana rupena - to you as dowry
Nidadhe - gave
Atah te - by reason of this, your
Vistirno gurur ayam - one is expansive and heavy
(Asesam vasumatim - ? not here Nitamba Pragbharah)
- the anterior weight of your hips
Sthagayati - is made to shrink
Laghutvam nayati cha - makes it have lightness also.
SLX1 - P4
VERSE 81
The ritual of the Devi corresponds to the world of necessities, i.e. as the cook does not put silver knives into hot water so as not to spoil them.
See schemas on necessity and contingency.
What can save Her is establishing bipolarity with the Numerator:
consolation is a one-one correspondence.
"My husband does not pay me or sleep with me, but he is the father of my children"
You accept everything that is necessity, and cancel it with the corresponding Numerator value which will cancel it.
That which has absolute value falls on the vertical axis.
That which is relativistic falls to one side or the other and is confusing .
Art and beauty are the consolations for the world of necessities.
There are laws laid down somewhere and they provide one-one correspondence.
The emancipated woman is a myth - unless you put Berna to the sword,
like Medea in Greek Tragedy.
Vedanta says: "Don't kill anybody - cancel the Numerator and the Denominator.
You can be like Medea, or you can follow the laws of necessity and contingency as laid down in Vedanta.
All necessities vanish when you know the Absolute
- "the truth shall make you free" etc.
Proper conduct will often clear confusion.
(Similarly with Feng Shui: improper architecture at the place of business will upset the storekeeper: a Chinese sage will come to the failing business and say: "that door is in the wrong place, let me move it here" and the business succeeds from then on. Every detail must be correct).
See schemas on necessity and contingency.
What can save Her is establishing bipolarity with the Numerator:
consolation is a one-one correspondence.
"My husband does not pay me or sleep with me, but he is the father of my children"
You accept everything that is necessity, and cancel it with the corresponding Numerator value which will cancel it.
That which has absolute value falls on the vertical axis.
That which is relativistic falls to one side or the other and is confusing .
Art and beauty are the consolations for the world of necessities.
There are laws laid down somewhere and they provide one-one correspondence.
The emancipated woman is a myth - unless you put Berna to the sword,
like Medea in Greek Tragedy.
Vedanta says: "Don't kill anybody - cancel the Numerator and the Denominator.
You can be like Medea, or you can follow the laws of necessity and contingency as laid down in Vedanta.
All necessities vanish when you know the Absolute
- "the truth shall make you free" etc.
Proper conduct will often clear confusion.
(Similarly with Feng Shui: improper architecture at the place of business will upset the storekeeper: a Chinese sage will come to the failing business and say: "that door is in the wrong place, let me move it here" and the business succeeds from then on. Every detail must be correct).
SLX1 - P5
VERSE 82
This verse describes the lower part of the body.
In the Sanskrit tradition you start at the head and work down.
In the previous verse, fatness is found in the hips of Shiva, but he gives it to the Devi and through adoration, she remains slim..
In this verse, the Devi's knees are compared to the callosity on the elephant's forehead - they are not beautiful, because she is kneeling down in accordance with Vedic rites.
(Example of a fat women at Hari Krishna temple.)
Parvati does not omit her puja (worship), and thus her knees are hard, but by nature Her thighs are tender and polished like banana stems
But ever remaining a queen, she puts herself into relationship with the Numerator through devotion and pujas.
These hundred verses are constructed... (?)
In the Sanskrit tradition you start at the head and work down.
In the previous verse, fatness is found in the hips of Shiva, but he gives it to the Devi and through adoration, she remains slim..
In this verse, the Devi's knees are compared to the callosity on the elephant's forehead - they are not beautiful, because she is kneeling down in accordance with Vedic rites.
(Example of a fat women at Hari Krishna temple.)
Parvati does not omit her puja (worship), and thus her knees are hard, but by nature Her thighs are tender and polished like banana stems
But ever remaining a queen, she puts herself into relationship with the Numerator through devotion and pujas.
These hundred verses are constructed... (?)
SLX1 - P5
VERSE 82
TRANSLATION
Like the trunks of the best (chief) of Indra's elephants - rough and supple - like the gold stems of a pair of banana trees,
"... polished and golden by the two thighs, having won over both
transcending both of these analogies and r.... (raised?) in roughness at the knees...
....Good stories of the life activities of the husband...
...which has become hard because of daily prostrations continued for a long time.
Necessity by absolute contingencies in proper order and system.
...daughter of the mountain who knows everything which is ordained in the scriptures.
By the two knees (or kneecaps)
You have transcended elephant knobs (by that holy elephant of Indra).
( the two knobs of necessity (knees) are transcended )"
"... polished and golden by the two thighs, having won over both
transcending both of these analogies and r.... (raised?) in roughness at the knees...
....Good stories of the life activities of the husband...
...which has become hard because of daily prostrations continued for a long time.
Necessity by absolute contingencies in proper order and system.
...daughter of the mountain who knows everything which is ordained in the scriptures.
By the two knees (or kneecaps)
You have transcended elephant knobs (by that holy elephant of Indra).
( the two knobs of necessity (knees) are transcended )"
SLX1 - P6
The callosity on the knees represents Beauty as the Universal Concrete.
The value of the knobs is the beauty.
Describing all that happens to the Denominator aspect of the Absolute
- while she has not forgotten the Numerator.
We have started with realistic imagery and it is carried on throughout the text.
Without the connection with the Numerator, the Devi will go mad.
Abstract and generalise, in other words, schematise.
"Make a green book the Universal Concrete - think of greenness."
Why should the Devi prostrate?
The callosity on the knees represents the Universal Concrete.
We have in this verse Beauty as a Universal Concrete - as abstract value represented by a concrete colour.
The same grade of epistemology is used throughout.
The value of the knobs is the beauty.
Describing all that happens to the Denominator aspect of the Absolute
- while she has not forgotten the Numerator.
We have started with realistic imagery and it is carried on throughout the text.
Without the connection with the Numerator, the Devi will go mad.
Abstract and generalise, in other words, schematise.
"Make a green book the Universal Concrete - think of greenness."
Why should the Devi prostrate?
The callosity on the knees represents the Universal Concrete.
We have in this verse Beauty as a Universal Concrete - as abstract value represented by a concrete colour.
The same grade of epistemology is used throughout.
SLX1 - P7
VERSE 82
( see schemas on other page)
( see schemas on other page)
.
VERSE 82
WORD FOR WORD
Karindranam sundan - with the trunks of the best of elephants
Kanaka kadali kanda patalim - like the gold stems of a group of banana trees
Ubhabhyam urubhyam - by the two thighs
Ubhayam api nirjitya - having won over both, transcending
Bhavati suvrtta abhyam - you one full of good life story
Patyuh pranati kathina abhyam - who has become hard (with callosity)
by prostration to the husband
Giri sute - o daughter of the mountain
Vidhijne - one who knows the correctness of actions (ritual or not)
Karindranam sundan - with the trunks of the best of elephants
Kanaka kadali kanda patalim - like the gold stems of a group of banana trees
Ubhabhyam urubhyam - by the two thighs
Ubhayam api nirjitya - having won over both, transcending
Bhavati suvrtta abhyam - you one full of good life story
Patyuh pranati kathina abhyam - who has become hard (with callosity)
by prostration to the husband
Giri sute - o daughter of the mountain
Vidhijne - one who knows the correctness of actions (ritual or not)
.
Keep close to the vertical axis, where Absolute Values reside -
ignore silly problems, which tend to confuse and mislead.
Deal with Absolutes and establish a proper one-one correspondence.
Proper methodology means correct priorities and precedence.
ignore silly problems, which tend to confuse and mislead.
Deal with Absolutes and establish a proper one-one correspondence.
Proper methodology means correct priorities and precedence.
SLX1 - P9
Reciprocity and ambivalence.
The structuralism of Eddington is the same kind of system as Sankara's
- i.e. any mathematical formula can be represented structurally.
The structuralism of Eddington is the same kind of system as Sankara's
- i.e. any mathematical formula can be represented structurally.
VERSE 83
TRANSLATION
- To defeat Rudra (Shiva, the hypostatic function)
- Filling the two arrow receptacles (quivers) doubly
(referring to the lower part of the legs - a reference to Eros
- five arrows in each of the quivers)
- O Daughter of the Himalayas
- Like two pillars the two pillars are yours)
- Your two lower legs
- The one of tragic flame (Eros- libido)
- Surely he made these arrows
- At their tips
- Are seen (there is seen)
- The ten arrow heads
- Having the semblance of the nails of the two feet
- Sharpened well on the whetstone (solely by these crowns)
consisting of the crowns of Devas
- Filling the two arrow receptacles (quivers) doubly
(referring to the lower part of the legs - a reference to Eros
- five arrows in each of the quivers)
- O Daughter of the Himalayas
- Like two pillars the two pillars are yours)
- Your two lower legs
- The one of tragic flame (Eros- libido)
- Surely he made these arrows
- At their tips
- Are seen (there is seen)
- The ten arrow heads
- Having the semblance of the nails of the two feet
- Sharpened well on the whetstone (solely by these crowns)
consisting of the crowns of Devas
SLX1 - P9
This is equivalent to the wife sharpening her wits on various professors
and psychologists to defeat her husband.
The Devi's legs: actually he is describing the calves and not the thighs - see previous verse.
and psychologists to defeat her husband.
The Devi's legs: actually he is describing the calves and not the thighs - see previous verse.
SLX1 - P10
VERSE 83
The psyche is being structurally analysed - the psyche means a woman.
Shiva has no mathematical equivalent.
The Devi is against Shiva's nominalism :
"I am the creative principle - I will not allow you to evaporate".
If you want to send arrows, they must be sharp.
She sharpens her arrows on the crowns of demi-gods.
The sharp arrows of destruction correspond to the flames on Shiva's crown.
To defeat Rudra.
Two legs - vertical copulation is referred to.
In any case the arrows are ineffectual against Shiva, as a sort of hydrogen principle.
The arrowheads are harder than the crowns of the Devas.
Shiva has no mathematical equivalent.
The Devi is against Shiva's nominalism :
"I am the creative principle - I will not allow you to evaporate".
If you want to send arrows, they must be sharp.
She sharpens her arrows on the crowns of demi-gods.
The sharp arrows of destruction correspond to the flames on Shiva's crown.
To defeat Rudra.
Two legs - vertical copulation is referred to.
In any case the arrows are ineffectual against Shiva, as a sort of hydrogen principle.
The arrowheads are harder than the crowns of the Devas.
SLX1 - P11
In Verse 83 we find:
Selectionism
Structuralism
Subjectivism
Selectionism
Structuralism
Subjectivism
VERSE 83
WORD FOR WORD
Parajetum rudram - to defeat Rudra
Dvi guna saragarbhau - filling the two quivers, receptacles, doubly
Girisute - o daughter of Giri (the mountain)
Nisanghau (te) - two pillars of yours
Janghe te - your two lower legs
Visama visikho - the one of tragic flame (Eros, libido)
Badham akrta - surely he made
Yad agre - at their tips
Drsyante - are seen
Dasa sara phala - the ten arrow heads
Pada yugali nakha gracchad manah - having the semblance of the nails of the two feet
Suramakuta sanaika nisitah - sharpened well on the whetstones consisting of the crowns of gods.
Parajetum rudram - to defeat Rudra
Dvi guna saragarbhau - filling the two quivers, receptacles, doubly
Girisute - o daughter of Giri (the mountain)
Nisanghau (te) - two pillars of yours
Janghe te - your two lower legs
Visama visikho - the one of tragic flame (Eros, libido)
Badham akrta - surely he made
Yad agre - at their tips
Drsyante - are seen
Dasa sara phala - the ten arrow heads
Pada yugali nakha gracchad manah - having the semblance of the nails of the two feet
Suramakuta sanaika nisitah - sharpened well on the whetstones consisting of the crowns of gods.
.
.
Back to back is vertical,
belly to belly is horizontal.
P12
.
SLX1 - P13
VERSE 84
This represents the Devi standing on the head of Shiva.
In verse 83, unless you go outside the circle of relativity, i.e. eroticism, the Absolute is powerless.
Her arrowhead toenails are sharpened on the crowns of five gods, to injure Shiva.
In this verse, there is an inversion whereby the woman is given numerator status standing on the crown of Vishnu, giving it colour.
In verse 83, unless you go outside the circle of relativity, i.e. eroticism, the Absolute is powerless.
Her arrowhead toenails are sharpened on the crowns of five gods, to injure Shiva.
In this verse, there is an inversion whereby the woman is given numerator status standing on the crown of Vishnu, giving it colour.
.
VERSE 84
TRANSLATION
- The final or ultimate point (Vedanta means the end or final point of wisdom)
- You (the Devi) wear
- That which is thy twin feet - (your feet are like the ultimate point of
the Upanishads)
- By way of head ornament (crowning decoration) for me too (me = the poet)
(Vishnu is only conventional, your feet are more valuable)
(Orientation is not there - please stand on my head and give me orientation)
- These two
- Of the Mother
- By great mercy, on my head, O Goddess, put your feet
- Those feet which are thine
- Word water (like a baptism of words)
- The river which arises from Pasupati
- Of which the beauty of the red paint
(glow of the feet of the Devi - Numerator)
- Before the pink dawn comes
(the sun is Denominator, the colour is Numerator)
- The red brilliance (pink dawn brilliance) of the crown of Vishnu
- You (the Devi) wear
- That which is thy twin feet - (your feet are like the ultimate point of
the Upanishads)
- By way of head ornament (crowning decoration) for me too (me = the poet)
(Vishnu is only conventional, your feet are more valuable)
(Orientation is not there - please stand on my head and give me orientation)
- These two
- Of the Mother
- By great mercy, on my head, O Goddess, put your feet
- Those feet which are thine
- Word water (like a baptism of words)
- The river which arises from Pasupati
- Of which the beauty of the red paint
(glow of the feet of the Devi - Numerator)
- Before the pink dawn comes
(the sun is Denominator, the colour is Numerator)
- The red brilliance (pink dawn brilliance) of the crown of Vishnu
SLX1 - P14
VERSE 84
Sankara is saying: "At the end of my journey through the Upanishads, now I want You to give me ontological blessing by standing on my head".
All this intellectual knowledge and ritual is fine, but now give it some real meaning and colour by rising over the gods and standing on my head - I will become the Denominator by way of your blessing."
All this intellectual knowledge and ritual is fine, but now give it some real meaning and colour by rising over the gods and standing on my head - I will become the Denominator by way of your blessing."
For example: a man reads and understands a road map, but can do nothing until he has related the map to his own position.
He asks for the feet on his head and on the head of Vishnu, or on a book , a map or the Upanishads.
Compared to yesterday's verse, there is no opposition here - because everything is on the vertical axis.
The colour between the rosy dawn and the white light of the sun is superior to sunlight in this context.
The value of the Ganges descending to earth, and the value of Aruna, the magenta pink of dawn.
The colour between the rosy dawn and the white light of the sun is superior to sunlight in this context.
The value of the Ganges descending to earth, and the value of Aruna, the magenta pink of dawn.
"I want your feet, but not only on Vishnu, but more on my own head to give me the proper orientation."
In this verse there is less contradiction.
In the previous verse there is more contradiction.
Surplus Value = mauna (abstract noun relating to Muni, see Monier -Williams Sanskrit Dictionary
In the previous verse there is more contradiction.
Surplus Value = mauna (abstract noun relating to Muni, see Monier -Williams Sanskrit Dictionary
SLX1 - P15
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.
.
VERSE 84
WORD FOR WORD
Srutinam murdhano - the final parts of scripture
Dadhati - you wear
Tava yau - that which are thine (two)(twin feet)
Sekharataya mam api - as crest jewel also for me by way of head ornament are for me too
Etau - these (two)
Matah - o mother
Sirasi dayaya dhehi - place kindly on my head
Caranau yayoh - the feet which belong to thee
Padyam pathah - the water of word value
Pasupati jata jutatani - the brook that is found in the matted hair of Shiva
Yayor laksa lakshmih - what lends the red glory of Laksha Rasa (hibiscus juice)
Aruna haricudamani rucih - the red brilliance of the crown of Vishnu.
Srutinam murdhano - the final parts of scripture
Dadhati - you wear
Tava yau - that which are thine (two)(twin feet)
Sekharataya mam api - as crest jewel also for me by way of head ornament are for me too
Etau - these (two)
Matah - o mother
Sirasi dayaya dhehi - place kindly on my head
Caranau yayoh - the feet which belong to thee
Padyam pathah - the water of word value
Pasupati jata jutatani - the brook that is found in the matted hair of Shiva
Yayor laksa lakshmih - what lends the red glory of Laksha Rasa (hibiscus juice)
Aruna haricudamani rucih - the red brilliance of the crown of Vishnu.
SLX1 - P17
VERSE 85
TRANSLATION
- We salute ( you, o Goddess)
- To the feet of most beautiful (or pleasing)
- For these thy two feet ( This is not a mathematical concept, but very real
- keeps me from going mad, and others will be blessed in descending order)
- These feet are clear and pleasing (?)
- I do prostrate to the feet again
- Having extreme jealousy
- For being trampled upon
- By which
- The Lord of Animals
- Having jealousy
- Towards the Asoka tree of the pleasure garden
- To the feet of most beautiful (or pleasing)
- For these thy two feet ( This is not a mathematical concept, but very real
- keeps me from going mad, and others will be blessed in descending order)
- These feet are clear and pleasing (?)
- I do prostrate to the feet again
- Having extreme jealousy
- For being trampled upon
- By which
- The Lord of Animals
- Having jealousy
- Towards the Asoka tree of the pleasure garden
The tree asks the Devi to kick it into flower, and Shiva says:
"I am extremely jealous"
The tree is horizontal, Shiva is jealous.
In Verse 84, Sankara salutes the feet of the Devi as Absolute Negative Value.
The Devi's feet represent the ontological limit.
The red colour means "full of vitality, life".
The Devi's feet keep the banker from committing suicide and keep Shiva from evaporating ( = creating the Ganges) and bless the scholar.
"I am extremely jealous"
The tree is horizontal, Shiva is jealous.
In Verse 84, Sankara salutes the feet of the Devi as Absolute Negative Value.
The Devi's feet represent the ontological limit.
The red colour means "full of vitality, life".
The Devi's feet keep the banker from committing suicide and keep Shiva from evaporating ( = creating the Ganges) and bless the scholar.
Shiva says: "You can do all of these things, but why are you giving Your value to the horizontal plane? You are creating pluralism and creating suffering."
Horizontalism is a kind of dispersion.
In this way, Shiva is jealous - the devotee receives a blessing.
Shiva's burning head is consoled, and the Ganges is produced.
Vishnu's currency-note head is coloured with life and now the Devi blesses the forest.
Horizontalism is a kind of dispersion.
In this way, Shiva is jealous - the devotee receives a blessing.
Shiva's burning head is consoled, and the Ganges is produced.
Vishnu's currency-note head is coloured with life and now the Devi blesses the forest.
In order to flower, the tree must have a direct impact from some positive Numerator - in this case the feet of the Devi.
Shiva is jealous because the Devi is blessing the horizontal plane.
Shiva is jealous because the Devi is blessing the horizontal plane.
.
Shiva is mathematical at the Omega point.
Below that is the mythological Shiva - the Devi's feet create the Ganges.
The Devi's feet give colour to the white light in VERSE 84
Here she gives a kick to the tree on the horizontal plane in VERSE 85
Below that is the mythological Shiva - the Devi's feet create the Ganges.
The Devi's feet give colour to the white light in VERSE 84
Here she gives a kick to the tree on the horizontal plane in VERSE 85
Sankara says: " I find the feet of the Devi to have more value than the mathematical concept of Shiva."
The "pleasure garden" refers to a Garden of Eden concept.
There is a giggling of girls in the garden with no vertical value.
The Devi is supplying vertical value to this pleasure-garden and Shiva is jealous of this.
She is abolishing horizontal Space and bringing it to vertical Time .
Shiva says: "If I allow the Devi to concern herself with all these horizontal aspects (the trees of the forest), Her vertical value will dissipate".
There is a giggling of girls in the garden with no vertical value.
The Devi is supplying vertical value to this pleasure-garden and Shiva is jealous of this.
She is abolishing horizontal Space and bringing it to vertical Time .
Shiva says: "If I allow the Devi to concern herself with all these horizontal aspects (the trees of the forest), Her vertical value will dissipate".
VERSE 85
TRANSLATION
We utter words of salutation to those which are beautiful to the eyes,
the twin feet.
To those present here (ontological reality), your twin one,
Your two feet have been smeared (with red colour).
Having extreme jealousy of which, to have confrontal contact.
It (the tree) wishes..
The Lord is full of jealousy toward the Asoka tree which is in the pleasure -garden (and which is known to flower only by contact with the feet of the Devi)
the twin feet.
To those present here (ontological reality), your twin one,
Your two feet have been smeared (with red colour).
Having extreme jealousy of which, to have confrontal contact.
It (the tree) wishes..
The Lord is full of jealousy toward the Asoka tree which is in the pleasure -garden (and which is known to flower only by contact with the feet of the Devi)
Eternity will suffer and horizontal Space will gain - thus Shiva is jealous..
SLX1 - P19
VERSE 85
WORD FOR WORD
Namo vakam brumo - We salute (utter words of salutation)
Nayana ramaniyaya - to them, which are beautiful to the eyes
Padayoh - the (twin) feet
Tava asmai dvandvaya - to these present here, to your own ones
Sphuta ruchira salakta kavate - (clear-pleasing-smeared-ones-of Yours)
the most bright and beautiful ones with red cotton- flower paste oversmeared.
Asuyat yatyantam - having extreme jealousy
Yad abhi hananaya - with which to have confrontal
contact, for being trampled upon by which
Sprhayate - it wishes
Pasu nam isana - Pasupati (Shiva)
Pramada vana kankelita rave - towards the Asoka tree of the pleasure-garden
Nayana ramaniyaya - to them, which are beautiful to the eyes
Padayoh - the (twin) feet
Tava asmai dvandvaya - to these present here, to your own ones
Sphuta ruchira salakta kavate - (clear-pleasing-smeared-ones-of Yours)
the most bright and beautiful ones with red cotton- flower paste oversmeared.
Asuyat yatyantam - having extreme jealousy
Yad abhi hananaya - with which to have confrontal
contact, for being trampled upon by which
Sprhayate - it wishes
Pasu nam isana - Pasupati (Shiva)
Pramada vana kankelita rave - towards the Asoka tree of the pleasure-garden
SLX1 - P20
VERSE 86
This is an example of cancellation.
The kick on the forehead.
The jingling bells are tied to the feet of Eros - his being burnt means that he was pushed to the negative side.
The Devi kicks Shiva and Eros dances happily because of it.
Shiva did not pronounce some other woman's name - it had something to do with pride in the origin of Her family (Gotra).
The kick on the forehead.
The jingling bells are tied to the feet of Eros - his being burnt means that he was pushed to the negative side.
The Devi kicks Shiva and Eros dances happily because of it.
Shiva did not pronounce some other woman's name - it had something to do with pride in the origin of Her family (Gotra).
VERSE 87
The Devi's lotus (a lotus which is absolute is not blighted);
But from the O point to the Alpha point is Lakshmi, who is not always the same; she is affected by the weather and by night and day, etc.
But from the O point to the Alpha point is Lakshmi, who is not always the same; she is affected by the weather and by night and day, etc.
VERSE 88
The fore part of the Devi's feet is the seat of reputation.
VERSE 89
The lotus of heavenly maidens is on the Numerator side
- it gives fruit only to the Devas (gods).
But the Devi on the Denominator side gives to "poor people".
On the Numerator side is a kind of luxury beauty, while on the Denominator side even the common man shares in it.
- it gives fruit only to the Devas (gods).
But the Devi on the Denominator side gives to "poor people".
On the Numerator side is a kind of luxury beauty, while on the Denominator side even the common man shares in it.
SLX1 - P21
VERSE 90
VERSE 91
The Devi and her swans - they follow Her about the house, trying to imitate her walk.
There is a tinkling of bells inside Her ankle bracelets.
Sankara refers to both the horizontal and vertical aspects of Dance.
The vertical is a stamping of feet.
The horizontal aspect is seen in the strange and ugly mistakes of the swans.
The horizontal swans learn from the vertical beauty.
Here horizontal beauty and vertical beauty meet.
There is a tinkling of bells inside Her ankle bracelets.
Sankara refers to both the horizontal and vertical aspects of Dance.
The vertical is a stamping of feet.
The horizontal aspect is seen in the strange and ugly mistakes of the swans.
The horizontal swans learn from the vertical beauty.
Here horizontal beauty and vertical beauty meet.
SLX1 - P22
VERSE 86
TRANSLATION
1) Shiva made a mistake in vertical reference to his wife (mistook another)
2) Becomes ashamed about the mistake about family descent
3) Is kicked on the forehead while he is bent over in shame
4) Absolute negative value of the lotus-coloured feet, she kicks
5) Refers to Eros hiding near the waist of the Devi
6) Long prevailing fire on the head of Eros, caused by Shiva's enmity
7) Eros wakes up and sees that Shiva is being kicked
8) Bells, and
9) jingling sounds occur when the Devi kicks, and when Eros realises it
(the bells could be around the Devi's ankles)
10) When the enemy of Eros is kicked
1) Shiva made a mistake in vertical reference to his wife (mistook another)
2) Becomes ashamed about the mistake about family descent
3) Is kicked on the forehead while he is bent over in shame
4) Absolute negative value of the lotus-coloured feet, she kicks
5) Refers to Eros hiding near the waist of the Devi
6) Long prevailing fire on the head of Eros, caused by Shiva's enmity
7) Eros wakes up and sees that Shiva is being kicked
8) Bells, and
9) jingling sounds occur when the Devi kicks, and when Eros realises it
(the bells could be around the Devi's ankles)
10) When the enemy of Eros is kicked
VERSE 86
TRANSLATION
1) Inadvertently having had a family-disrupting thought
2) Then recumbent with lost face
3) On the forehead of the husband
4) With the lotus feet she kicked, your
5) Long prevailing
6) The anger caused inside by long prevailing fire
7) By him who awakened out of it
8) By the sound of jingling of many bells
9) Is jingled
10) By the enemy of Ishana (or Shiva)
1) Inadvertently having had a family-disrupting thought
2) Then recumbent with lost face
3) On the forehead of the husband
4) With the lotus feet she kicked, your
5) Long prevailing
6) The anger caused inside by long prevailing fire
7) By him who awakened out of it
8) By the sound of jingling of many bells
9) Is jingled
10) By the enemy of Ishana (or Shiva)
SLX1 - P23
Shiva made a mistake, forgetting that the Devi is a daughter of the Himalayas
and his proper wife, since he is also prone to horizontal errors.
The Devi is obliged to straighten him out with a kick in the forehead.
SANKARA IS SAYING THAT THERE IS ALSO A VERTICAL NEGATIVE POWER - NOT JUST A POSITIVE POWER.
THE NEGATIVE POWER IS REPRESENTED HERE BY THE DEVI KICKING SHIVA IN THE HEAD.
and his proper wife, since he is also prone to horizontal errors.
The Devi is obliged to straighten him out with a kick in the forehead.
SANKARA IS SAYING THAT THERE IS ALSO A VERTICAL NEGATIVE POWER - NOT JUST A POSITIVE POWER.
THE NEGATIVE POWER IS REPRESENTED HERE BY THE DEVI KICKING SHIVA IN THE HEAD.
SLX1 - P24
VERSE 86
WORD FOR WORD
Mrsa krtva gotra skhalanam - inadvertently having had a family - disrupting thought
Atha vailaksya namitam - then recumbent with lost face
Lalate bhartaram - on the forehead of the husband
Carana kamale tadayati - When he is being kicked by her lotus feet
Te cirat - your (feet), long prevailing (nourishing)
Antah salyam dahana krtam - the anger caused inside by the consuming fire
(of Shiva)
Unmulita vata - by him who has awakened out of it
Tula koti kvanaih - by the sounds of many bells
Kili kilitam - is jingled (in triumph)
Isana ripuna - by the enemy of Isana (Shiva)
Atha vailaksya namitam - then recumbent with lost face
Lalate bhartaram - on the forehead of the husband
Carana kamale tadayati - When he is being kicked by her lotus feet
Te cirat - your (feet), long prevailing (nourishing)
Antah salyam dahana krtam - the anger caused inside by the consuming fire
(of Shiva)
Unmulita vata - by him who has awakened out of it
Tula koti kvanaih - by the sounds of many bells
Kili kilitam - is jingled (in triumph)
Isana ripuna - by the enemy of Isana (Shiva)
SLX1 - P25
VERSE 87
TRANSLATION
That which gets blasted by the frost (or the snows of the Himalayas)
The (twin) that are expert in living in the Himalayan peaks
Which go to sleep at night
At dusk as at the point of death of darkness
Clear (which are both clear)
Desired boon
The receptacle of the Goddess of Prosperity
Which spreads around wealth (with extra readiness)
To votaries (devotees)
The water bound (born ) (flower lotus (lotus flower?)
Your twin feet
O Mother, they (both) reign victorious
What wonder herein?
That which gets blasted by the frost (or the snows of the Himalayas)
The (twin) that are expert in living in the Himalayan peaks
Which go to sleep at night
At dusk as at the point of death of darkness
Clear (which are both clear)
Desired boon
The receptacle of the Goddess of Prosperity
Which spreads around wealth (with extra readiness)
To votaries (devotees)
The water bound (born ) (flower lotus (lotus flower?)
Your twin feet
O Mother, they (both) reign victorious
What wonder herein?
TRANSLATION
Frost in the Himalayas which blasts a lotus flower
"Expert" because they are Absolute Beauty - they cannot suffer from frost
In the night this flower will go to sleep
At the end of the night, just as at dusk
It is clear (as a flower) at both times
(The Absolute is eternal, not blasted by cold, even though it closes)
"Expert" because they are Absolute Beauty - they cannot suffer from frost
In the night this flower will go to sleep
At the end of the night, just as at dusk
It is clear (as a flower) at both times
(The Absolute is eternal, not blasted by cold, even though it closes)
A person who worships Lakshmi will have all the boons that are desired
- She is a Denominator goddess - but think of Her in revised, more absolute terms.
Around that lotus, the gift is beyond the normal limit.
Those who know how to worship the Goddess in the right way win much more than just a mediocre boon.
- She is a Denominator goddess - but think of Her in revised, more absolute terms.
Around that lotus, the gift is beyond the normal limit.
Those who know how to worship the Goddess in the right way win much more than just a mediocre boon.
The conventional goddess gives you profit, but I am talking about extra prosperity - something more - is there any wonder in this?
SLX1 - P26
In the Himalayas there is a beautiful lotus which represents the beauty of the Devi.
The negative absolute principle, living in the frost of the Himalayas.
This flower is blasted every day.
But it is not an ordinary flower, it is absolute and resists the frost by its expertness.
It is very different from the ordinary lotuses that people worship.
It sleeps at night - even in the Absolute there is an alternation between night and day - it sleeps at night, just as does any other organism.
The negative absolute principle, living in the frost of the Himalayas.
This flower is blasted every day.
But it is not an ordinary flower, it is absolute and resists the frost by its expertness.
It is very different from the ordinary lotuses that people worship.
It sleeps at night - even in the Absolute there is an alternation between night and day - it sleeps at night, just as does any other organism.
.
.
The Absolute is placed between sleeping and waking.
A woman is supposed to be tender, like the feet - the ontological Absolute.
If she did not sleep, she would not be the Absolute.
She is clear at night, just as at any other time.
How can you have any benefit from contemplating the Absolute?
Every kind of value which is prayed for will be given.
This wealth is thrown out with extra force by the cup or container of the lotus
- not ordinary gifts, but the Big Bang of the Absolute - something worth while.
To whom? To votaries. The ordinary devotee gets a good house, the man expert in Absolute Values will get wisdom.
"Water bound" means Denominator; not afraid of the frost.
Your twin feet, they are both victorious - what is impossible about this?
You had better find out what I am talking about.
A woman is supposed to be tender, like the feet - the ontological Absolute.
If she did not sleep, she would not be the Absolute.
She is clear at night, just as at any other time.
How can you have any benefit from contemplating the Absolute?
Every kind of value which is prayed for will be given.
This wealth is thrown out with extra force by the cup or container of the lotus
- not ordinary gifts, but the Big Bang of the Absolute - something worth while.
To whom? To votaries. The ordinary devotee gets a good house, the man expert in Absolute Values will get wisdom.
"Water bound" means Denominator; not afraid of the frost.
Your twin feet, they are both victorious - what is impossible about this?
You had better find out what I am talking about.
.
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Why twin feet? He has built an image in abstract terms, now do not forget that the two feet are real, the ontological Absolute.
There is a difference in quality, depending on how much of the vertical and horizontal are involved.
There is a difference in quality, depending on how much of the vertical and horizontal are involved.
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VERSE 87
WORD FOR WORD
Hima nihantavyam - that which gets blasted by frost or snow
Himagiri nivasaika caturau - the (twin) that are expert in living in the Himalayan region
Nisayam nidranam - which go to sleep at night
Nisi carama bhage ca - at dusk as at the point of death of darkness
Visadau - clear
Varam - desired boon
Laksmi patram - the receptacle of (the goddess of) prosperity
Sriyam ati srjantau - which spreads around wealth with extra readiness
Samayinam - to votaries
Sarojam - the water-born (flower lotus)
Tvat padau - your twin feet
Janani jayatah - o Mother they (both) reign victorious
Citram iha kim - what wonder herein
Himagiri nivasaika caturau - the (twin) that are expert in living in the Himalayan region
Nisayam nidranam - which go to sleep at night
Nisi carama bhage ca - at dusk as at the point of death of darkness
Visadau - clear
Varam - desired boon
Laksmi patram - the receptacle of (the goddess of) prosperity
Sriyam ati srjantau - which spreads around wealth with extra readiness
Samayinam - to votaries
Sarojam - the water-born (flower lotus)
Tvat padau - your twin feet
Janani jayatah - o Mother they (both) reign victorious
Citram iha kim - what wonder herein
SLX1 - P28
SLX1 - P29
VERSE 88
TRANSLATION
Your feet are the exalted seat of (your) good repute
O Goddess, how is it that danger became non-dangerous?
By good poets (people) in terms of tortoiseshell
How is it possible that by his hands
At the time of wedlock (to Shiva)
By the ancient one so cold
Were taken so as to be placed
On the stone
With kindly mind
O Goddess, how is it that danger became non-dangerous?
By good poets (people) in terms of tortoiseshell
How is it possible that by his hands
At the time of wedlock (to Shiva)
By the ancient one so cold
Were taken so as to be placed
On the stone
With kindly mind
"How could Shiva have taken thy feet, tender as a lotus, and put them on a stone at the time of wedlock to Shiva, your feet, sung by poets as being as hard as tortoiseshell?"
(Placing the bride's foot on the stone is part of the wedding-ritual)
Instead of being tender like a lotus, the feet have become hard by being praised by poets.
In temples, people praise the feet of the Devi - that is, they become hard when they become public.
The public mind makes them as hard as tortoiseshell, which is secreted by the living organism of the tortoise.
They are the seat of reputation of the Absolute and thus vertical.
How is it possible that when you were in danger of falling into a negative pit,
you were saved by a horizontal reference (by good poets sung)?
The public mind makes them as hard as tortoiseshell, which is secreted by the living organism of the tortoise.
They are the seat of reputation of the Absolute and thus vertical.
How is it possible that when you were in danger of falling into a negative pit,
you were saved by a horizontal reference (by good poets sung)?
SLX1 - P30
The paradox is represented by the horizontal and vertical -
when verticalized, the paradox disappears.
when verticalized, the paradox disappears.
.
.
1st question: How could the dangerousness of the negative aspect be abolished?
2nd question: How could Shiva take the horizontal aspect of the feet and put them on a stone at the time of marriage?
It is impossible to imagine Shiva taking hard legs and putting them on a stone that is hard itself...(?)
2nd question: How could Shiva take the horizontal aspect of the feet and put them on a stone at the time of marriage?
It is impossible to imagine Shiva taking hard legs and putting them on a stone that is hard itself...(?)
1 - Good repute resides in the legs
2 - How come the danger of the negative aspect was brought to the horizontal plane and made auspicious?
3 - How was it possible at the time of wedlock for Shiva to lift the stone legs?
4 - Why put them on the stone?
2 - How come the danger of the negative aspect was brought to the horizontal plane and made auspicious?
3 - How was it possible at the time of wedlock for Shiva to lift the stone legs?
4 - Why put them on the stone?
A circulation of values is possible through your meditations - he will take these four elements of paradox and give meaning through a circulation of values.
.
.
Give equal importance to the horizontal and vertical - unite them in the Absolute.
Shiva descends by kindness to fulfil the desires of people.
The intelligent man is free to see this game and play it by himself.
Priests want money, so they put an idol in a temple
- but do not minimise their importance.
All these people come to worship where the Devi's feet are stone.
The ritual requires Shiva to put the feet (here they themselves are stone) on the stone for his bride to look at the star Arundati.
There are four elements of paradox here.
The two lotus feet at the bottom of the structure are the most ontological part of the Absolute - it ascends to the horizontal for the people.
Shiva descends by kindness to fulfil the desires of people.
The intelligent man is free to see this game and play it by himself.
Priests want money, so they put an idol in a temple
- but do not minimise their importance.
All these people come to worship where the Devi's feet are stone.
The ritual requires Shiva to put the feet (here they themselves are stone) on the stone for his bride to look at the star Arundati.
There are four elements of paradox here.
The two lotus feet at the bottom of the structure are the most ontological part of the Absolute - it ascends to the horizontal for the people.
SLX1 - P32
.
VERSE 88
WORD FOR WORD
Padam te kirtinam prapadam - your feet are the exalted seat of good repute
Apadam devi vipadam katham nitam - O Goddess, how come that danger was led to be non-dangerous?
Sad bhih kathina kamathi kar para tulam - by good poets sung in terms of tortoise-shell hardness
Katham va bahubhyam - how is it possible that by his hands
Upayama nakale - at the time of wedlock
Pura bheda - by the ancient ones so called
Yad adaya nyastam - were they taken so as to be placed
Drsadi - on the stone
Daya manena manasa - with a kindly mind
Apadam devi vipadam katham nitam - O Goddess, how come that danger was led to be non-dangerous?
Sad bhih kathina kamathi kar para tulam - by good poets sung in terms of tortoise-shell hardness
Katham va bahubhyam - how is it possible that by his hands
Upayama nakale - at the time of wedlock
Pura bheda - by the ancient ones so called
Yad adaya nyastam - were they taken so as to be placed
Drsadi - on the stone
Daya manena manasa - with a kindly mind
Pratyaksha - the four elements of paradox
The Pramanas or sources of valid knowledge are :Anumana, Upamana, Sabda, Arthapathi, Anupalabdhi (or the argument by reductio ad absurdum)
(a definition of Anupalabdhi pramana is "the impossibility of being otherwise")
The Pramanas or sources of valid knowledge are :Anumana, Upamana, Sabda, Arthapathi, Anupalabdhi (or the argument by reductio ad absurdum)
(a definition of Anupalabdhi pramana is "the impossibility of being otherwise")
SLX1 - P34
VERSE 89
TRANSLATION
By nails for the heavenly damsels
Effectual as moons that cause to fade the lotus hands
(As for) the heavenly trees
Seem to be mocking
Yours ( your nails)
Dominant Goddess ( name for Parvati - Chandi - riding on a lion)
("slayer of Chanda" according to Malayalam edition. ED)
The two feet, the prints (?)
For the people in heaven
By the sprout tender tips of fingers
What is giving
To the indigent
Fully beneficial wealth incessantly
What quickly confers
Effectual as moons that cause to fade the lotus hands
(As for) the heavenly trees
Seem to be mocking
Yours ( your nails)
Dominant Goddess ( name for Parvati - Chandi - riding on a lion)
("slayer of Chanda" according to Malayalam edition. ED)
The two feet, the prints (?)
For the people in heaven
By the sprout tender tips of fingers
What is giving
To the indigent
Fully beneficial wealth incessantly
What quickly confers
There are many lower goddesses in Vedic literature, but they have to be cancelled out by the Absolute Principle of Beauty.
This principle is the Devi, whose toenails cancel out all the epic literature of India and boil it down to Vedantic terms in revised form.
The nails are the lowest point of the negative pole - they have Universal Concrete Value - when verticalized they become moonlight, not something hard.
The nails are the lowest point of the negative pole - they have Universal Concrete Value - when verticalized they become moonlight, not something hard.
Think of a tree in heaven, a Numerator hypostatic function.
Those who meditate on such trees gain heavenly values.
But here we come to the feet of the Goddess and the nails are so beautiful, they are like moonlight in consciousness, like the radiance of the crescent moon...
The nails are mocking the totality of hypostatic values.
When the moon comes, the numerator lotus closes, mocked by the denominator nails of the Devi.
Why should the lotus nails cancel the hands of the Goddess?
Because the nails are absolute negative moonlight.
The Goddesses are only heavenly.
The lotus hands are trying to give benefits, but they contract in moonlight.
The Denominator is mocking the Numerator.
Those who meditate on such trees gain heavenly values.
But here we come to the feet of the Goddess and the nails are so beautiful, they are like moonlight in consciousness, like the radiance of the crescent moon...
The nails are mocking the totality of hypostatic values.
When the moon comes, the numerator lotus closes, mocked by the denominator nails of the Devi.
Why should the lotus nails cancel the hands of the Goddess?
Because the nails are absolute negative moonlight.
The Goddesses are only heavenly.
The lotus hands are trying to give benefits, but they contract in moonlight.
The Denominator is mocking the Numerator.
.
.
SLX1 - P35
VERSE 89
There are two comparisons made here:
There are two comparisons made here:
1) On the one hand; the Numerator aspect of the divine tree, which has flowers and can give benefits in heaven - a priest will worship goddesses who bestow benefits in the heavenly context.
This heaven is a hedonistic, relativistic value-world where various Numerator goddesses are worshipped: their hands are like tree blossoms, giving benefits.
This heaven is a hedonistic, relativistic value-world where various Numerator goddesses are worshipped: their hands are like tree blossoms, giving benefits.
2) On the other hand; the nails of the Devi are like five crescent moons,
the light of which represents knowledge.
The absolute aspect of the nails is superior to the goddesses and, as moonlight, make the lotus hands fold up.
This is the "mocking": the Devi's nails, as moonlight, mock the hedonistic, relativistic, pluralistic aspect of the Goddesses.
In terms of consciousness, the light of the Goddess' toenails, which represent the vertical hierophantic Absolute, cancel out the hedonistic, relativistic, pluralistic benefits of the heavenly goddesses.
"Meditate on the ontological aspect of my toenails; goddesses will give to you only with their hands."
the light of which represents knowledge.
The absolute aspect of the nails is superior to the goddesses and, as moonlight, make the lotus hands fold up.
This is the "mocking": the Devi's nails, as moonlight, mock the hedonistic, relativistic, pluralistic aspect of the Goddesses.
In terms of consciousness, the light of the Goddess' toenails, which represent the vertical hierophantic Absolute, cancel out the hedonistic, relativistic, pluralistic benefits of the heavenly goddesses.
"Meditate on the ontological aspect of my toenails; goddesses will give to you only with their hands."
SLX1 - P36
VERSE 89
TRANSLATION
" By nails" - superior to lotus hands (Platonic world)
" Cause to fade" - the lotus hands
" Seem to be mocking" - the nails are superior
" Lion" - the dominant factor of Chandi - the Devi on a lion abolishes
the horizontal aspect
" Two feet" - the negative Absolute, ontological, here and now
" For the people in heaven" - benefit to Brahmins
" Indigent" - gives benefits both to indigents and to the Sannyasins; there is
no distinction
" Incessantly" - a constant gift, absolute and uniform
" Quickly" - as soon as you understand the Absolute, the permanent benefit is
incessantly given and seen.
" Cause to fade" - the lotus hands
" Seem to be mocking" - the nails are superior
" Lion" - the dominant factor of Chandi - the Devi on a lion abolishes
the horizontal aspect
" Two feet" - the negative Absolute, ontological, here and now
" For the people in heaven" - benefit to Brahmins
" Indigent" - gives benefits both to indigents and to the Sannyasins; there is
no distinction
" Incessantly" - a constant gift, absolute and uniform
" Quickly" - as soon as you understand the Absolute, the permanent benefit is
incessantly given and seen.
SLX1 - P37
VERSE 89
WORD FOR WORD
Nakhair nakastrinam - by nails for the heavenly damsels
Kara kamala samkoca - sasibhih - effectual as moons that cause to
fade the lotus hands
Tarunam divyanam - (as for) the heavenly trees
Hasata iva - seem to be (mocking)
Te - yours
Candi - dominant Goddess (Parvati)
Caranau phalani - the two feet, the fruits
Svah sthebhyah - for people in heaven
Kisalaya karagrena - by sprouts (?illegible) tender tips of fingers
Dadatam - what is giving
Daridrebhyo - to the indigent
Bhadram sriyam anisam - fully beneficial wealth incessantly
Ahnaya dadatau - what quickly confers.
Kara kamala samkoca - sasibhih - effectual as moons that cause to
fade the lotus hands
Tarunam divyanam - (as for) the heavenly trees
Hasata iva - seem to be (mocking)
Te - yours
Candi - dominant Goddess (Parvati)
Caranau phalani - the two feet, the fruits
Svah sthebhyah - for people in heaven
Kisalaya karagrena - by sprouts (?illegible) tender tips of fingers
Dadatam - what is giving
Daridrebhyo - to the indigent
Bhadram sriyam anisam - fully beneficial wealth incessantly
Ahnaya dadatau - what quickly confers.
.
.
HYPOSTATIC, RELATIVISTIC, HEDONISTIC, PLURALISTIC
SLX1 - P38
VERSE 90
In the past verses, Sankara has under-focussed on the side of beauty,
allowing the Devi to kick Shiva on the forehead.
Now he is going to start slowing down - turning off the gas.
allowing the Devi to kick Shiva on the forehead.
Now he is going to start slowing down - turning off the gas.
.
VERSE 90
TRANSLATION
What confers
For poor people
Wealth incessantly
(the Devi will give that portion of the gold dollar that is asked for
- if you do not ask, you will not get it)
According to what is desired
(what is compatible with its corresponding desire - this is known as Cartesian Occasionalism)
With spontaneous generosity
(without hesitation - the Absolute happens with a bang
- the Guru's love at first sight with a twelve year-old girl)
The collected honey of beauty
(like a flash of beauty or lightning)
Your radiantly bursting round (that which...)
(Illegible "....det these" ?ED)
For this celestial clustering blossom of the tree of heaven
("spray" - many flowers hanging together)
Let it attain (let the mind of the devotee attain the boon of entering the blooms)
Having immersed within the value represented by the feet
My life
Having the senses with mind as feet
(the five senses together with the mind as sixth)
Like the six-footed bee-like insect (having the likeness)
What confers
For poor people
Wealth incessantly
(the Devi will give that portion of the gold dollar that is asked for
- if you do not ask, you will not get it)
According to what is desired
(what is compatible with its corresponding desire - this is known as Cartesian Occasionalism)
With spontaneous generosity
(without hesitation - the Absolute happens with a bang
- the Guru's love at first sight with a twelve year-old girl)
The collected honey of beauty
(like a flash of beauty or lightning)
Your radiantly bursting round (that which...)
(Illegible "....det these" ?ED)
For this celestial clustering blossom of the tree of heaven
("spray" - many flowers hanging together)
Let it attain (let the mind of the devotee attain the boon of entering the blooms)
Having immersed within the value represented by the feet
My life
Having the senses with mind as feet
(the five senses together with the mind as sixth)
Like the six-footed bee-like insect (having the likeness)
SLX1 - P40
Let the man who is a true devotee enter into the feet of the Goddess like a bee enters into the lotus flower.
Brightness represents the essence of the beauty of the Devi.
Brightness represents the essence of the beauty of the Devi.
There is a central lotus which includes all the other lotus flowers (lotus = item of beauty, it could be beautiful women etc.)
Six senses are needed to perceive the flash of Absolute Beauty, like ambrosia.
The embodiment of the Devi - which is entered by the devotee in the same way that the six -footed bee enters into the heart or essence of the lotus.
"Let me become like the six-footed insect to enter into the normative essence of beauty represented by the essence of the centre of the lotus flower".
Sankara is summing up: "My life" is Sankara's signature.
The insect - the five senses represented in the sixth as Denominator totality - enters into the lotus, five within the sixth. The stem represents the stem.(?).
Subject and object become one, beauty is the content and is enough.
Enter within the philosophy - you can never have the totality by trying to deal with the parts of the whole by meditation.
This blessing is conferred only by Sanyasins.
Not in love with the Guru, but with the Goddess - "my life".
Six senses are needed to perceive the flash of Absolute Beauty, like ambrosia.
The embodiment of the Devi - which is entered by the devotee in the same way that the six -footed bee enters into the heart or essence of the lotus.
"Let me become like the six-footed insect to enter into the normative essence of beauty represented by the essence of the centre of the lotus flower".
Sankara is summing up: "My life" is Sankara's signature.
The insect - the five senses represented in the sixth as Denominator totality - enters into the lotus, five within the sixth. The stem represents the stem.(?).
Subject and object become one, beauty is the content and is enough.
Enter within the philosophy - you can never have the totality by trying to deal with the parts of the whole by meditation.
This blessing is conferred only by Sanyasins.
Not in love with the Guru, but with the Goddess - "my life".
.
.
SLX1 - P42
VERSE 90
WORD FOR WORD
Dadane - what confers
Dinebhyah - for poor people
Sriyam anisam - wealth incessantly
Asanu sa drsim - what is compatible with its corresponding desire
Amandam - with spontaneous generosity
Saundarya prakara makarandam - the collected honey of beauty
Vikirati tava - what radiant shines around
Asmin mandara stabaka subhage - amidst these clustering blossoms of the tree of heaven
Yati (yatu in Sanskrit) - let it attain
Carane nimajjan - having immersed within the ( value represented by the) feet
Majjivah - my life
Karana caranah - having the senses (with mind) as feet
Sat caranatam - the likeness of the six-footed, bee-like insect
Dinebhyah - for poor people
Sriyam anisam - wealth incessantly
Asanu sa drsim - what is compatible with its corresponding desire
Amandam - with spontaneous generosity
Saundarya prakara makarandam - the collected honey of beauty
Vikirati tava - what radiant shines around
Asmin mandara stabaka subhage - amidst these clustering blossoms of the tree of heaven
Yati (yatu in Sanskrit) - let it attain
Carane nimajjan - having immersed within the ( value represented by the) feet
Majjivah - my life
Karana caranah - having the senses (with mind) as feet
Sat caranatam - the likeness of the six-footed, bee-like insect
.
.
Saundarya Lahari: 1970/ SLC8
- Details
- Written by Patrick Misson
- Parent Category: Content
- Hits: 30681
SLC8
SLC8 is a manuscript in C. de Bruler's hand, dated from 25 /6/70 onwards.
The manuscript is copied from photocopies of two facing pages of the original notebook;
hence the numbering is by double open pages, not by sides of a sheet.
The manuscript is copied from photocopies of two facing pages of the original notebook;
hence the numbering is by double open pages, not by sides of a sheet.
PREFACE: AN INCOMPLETE COMMENTARY ON KALIDASA'S SHAKUNTALA EXTRACTED FROM THIS FILE, PAGES 1 TO 33
THERE ARE SOME GAPS IN STRUCTURES OF THE DARSANA MALA AND SHAKUNTALA
CONTENTS, PAGES 1 TO 85 - BEGINNING AFTER THE END OF THE SHAKUNTALA COMMENTARY AT PAGE 33
P1- Film Generalities
P10- World Government Statement
P10- Conversations with the Guru
P15- "Paradise Lost" - selections
P17- From "The Two Hands of God" by Alan Watts
P17- The Eight-Fold Structure
P17- The Four Limbs of the Quaternion
P18- Structural Examples from Various Texts: Apocrypha of the New Testament
P21- Mysticism and Cancellation
P22- The Dasakumaracarita of Dandin
P23- Kalidasa's Ritusamhara
P26- Kalidasa's Shakuntala
P29- Heraclitus
P31- Kalidasa's Shakuntala
P32- The World Line of Bergson
P32- Kalidasa's Shakuntala
P42- The Darsana Mala of Narayana Guru
P57- Kalidasa's Ritusamhara
P63- Kalidasa's Shakuntala
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
PREFACE
KALIDASA'S SHAKUNTALA
.
"Greek drama is based on the dialectics between honour and duty; Indian drama is based on the dialectics between eroticism and asceticism."
Nataraja Guru
This commentary is based on the somewhat dubious and punditical translation of the Motilal Banarsidas edition from which the Guru worked.
1
THE ASOKA TREE.
From roots to top, the Asoka has sprouts of a coral colour.
It is giving endless blossoms - when erotic mysticism is complete, there is a thrilling of the entire body.
Sadness overtakes a young girl in love, as a form of mysticism.
From roots to top, the Asoka has sprouts of a coral colour.
It is giving endless blossoms - when erotic mysticism is complete, there is a thrilling of the entire body.
Sadness overtakes a young girl in love, as a form of mysticism.
The Vikramurvasiyam of Kalidasa has the same situation: an Asoka tree waiting to flower requires the kick of a Princess.
There is a one-to-one correspondence between the élan vital of the tree and the queen.
Kicking means to understand the one in terms of the other: she kicks it so that it can get married.
This is an equation between the Self and the Non-Self.
This kind of eroticism gives content to the notion of the Absolute.
The play is properly called Abhijnanashakuntala. Abhijnana means: "Leading toward knowledge", that is, her "recognition" by Dusyanta.
Kalidasa sets up the audience hypnotically before the beginning of the Play.
For example, the charioteer's speech about the horses.
You are being transferred from the horizontal chariot to the soul of a horse.
The horses change horizontal space into vertical space.
Kalidasa wants you to do the same thing.
There is a one-to-one correspondence between the élan vital of the tree and the queen.
Kicking means to understand the one in terms of the other: she kicks it so that it can get married.
This is an equation between the Self and the Non-Self.
This kind of eroticism gives content to the notion of the Absolute.
The play is properly called Abhijnanashakuntala. Abhijnana means: "Leading toward knowledge", that is, her "recognition" by Dusyanta.
Kalidasa sets up the audience hypnotically before the beginning of the Play.
For example, the charioteer's speech about the horses.
You are being transferred from the horizontal chariot to the soul of a horse.
The horses change horizontal space into vertical space.
Kalidasa wants you to do the same thing.
THE NANDI, OR BENEDICTION FROM SHAKUNTALA.
"That which is the first creation of the creator,
That which bears the offering made according to due rites,
That which is the offerer,
Those two which make time,
That which pervades all space,
having for its quality what is perceived by the ear,
That which is the womb of all seeds,
That by which all living beings breathe:
Endowed with these eight visible forms, may the supreme Lord protect you."
That which bears the offering made according to due rites,
That which is the offerer,
Those two which make time,
That which pervades all space,
having for its quality what is perceived by the ear,
That which is the womb of all seeds,
That by which all living beings breathe:
Endowed with these eight visible forms, may the supreme Lord protect you."
The benediction is a masterpiece of structuralism: a god with eight visible forms, both cosmology and psychology together.
1. The first creation is fire, the centre, as with Thales etc.
2. That which bears the fire (what is put in) according to a certain order in the universe: some grains.
3. The Hotri, or sacrificant, who makes the offering.
4 and 5. "Those two who make time" the sun and moon are to be verticalized
so as to rise and set in your consciousness as if presented to the five senses.
6. The visible world - i.e. attainable in a schematised form.
7. Whatever you call the horizontal world - the womb of all seeds.
8. That by which all things live - breath.
1. The first creation is fire, the centre, as with Thales etc.
2. That which bears the fire (what is put in) according to a certain order in the universe: some grains.
3. The Hotri, or sacrificant, who makes the offering.
4 and 5. "Those two who make time" the sun and moon are to be verticalized
so as to rise and set in your consciousness as if presented to the five senses.
6. The visible world - i.e. attainable in a schematised form.
7. Whatever you call the horizontal world - the womb of all seeds.
8. That by which all things live - breath.
ALL THESE FALL INTO A VERTICAL AXIS.
ABSTRACT AND GENERALIZE AND YOU GET STRUCTURE,
THAT IS, FORM.
ABSTRACT AND GENERALIZE AND YOU GET STRUCTURE,
THAT IS, FORM.
slc8-p27
The existing translation (Motilal Banarsidas edition) of the Nandi proves to be inadequate, the Guru will translate the work.
THE NANDI FROM SHAKUNTALA
One god is praised here: Ishana.
A Puranic interpretation of the eight forms would be wrong,
Thence the confusion on the previous pages.
Kalidasa must be read as a Vedantin.
Quote the Gita, Brahma Sutras, and Upanishads.
Shabda Pramana means that "the words" (e.g. The words of an authority or scripture. ED) are taken as being true.
Other Pramanas (sources of valid knowledge. ED) are:
1. Pratyaksha - what is given to the senses.
2. Anumana - inference (where there is smoke, there is fire).
3. Upamana - analogy between two examples.
4. Sastrimitva - all Shastras would be wrong if there were no Brahman.
This is Shabda Pramana.
These are four of the ten Pramanas ("commonly accepted in Vedanta" see Science the Absolute on this website)
One god is praised here: Ishana.
A Puranic interpretation of the eight forms would be wrong,
Thence the confusion on the previous pages.
Kalidasa must be read as a Vedantin.
Quote the Gita, Brahma Sutras, and Upanishads.
Shabda Pramana means that "the words" (e.g. The words of an authority or scripture. ED) are taken as being true.
Other Pramanas (sources of valid knowledge. ED) are:
1. Pratyaksha - what is given to the senses.
2. Anumana - inference (where there is smoke, there is fire).
3. Upamana - analogy between two examples.
4. Sastrimitva - all Shastras would be wrong if there were no Brahman.
This is Shabda Pramana.
These are four of the ten Pramanas ("commonly accepted in Vedanta" see Science the Absolute on this website)
2
In the Nandi, we find:
1. Fire
2. Ghee
3. The Brahmin sacrificer (these two are interchangeable: "ya cha hotri...")
4 and 5. Time as sun and moon. There is an alternating figure eight.
Time mounts the vertical axis, like S and S' (see Bergson in the Science of the Absolute on this website)
They must be verticalized.
Substance, attribute, sound, "that even which we speak of as Nature".
(Manifestation itself is the last mentioned, it goes at the top; it is a nature-principle which gives breathing to all things.
Thus, here are eight presences that you can approach as being the visible universal concrete: also with the eight-fold content or aspects.
Let this universal principle be your saviour - let it save you.
"I worship you and I want to be saved by what you see".
The same elements are used in the play: Shakuntala, a pregnant woman, is the centre, the king forgets her; this is the tragedy.
If you are not tuned to the Absolute, not completely verticalized, you will forget your own wife as Dusyanta forgets Shakuntala, which is the greatest injustice.
Dushyanta is horizontally oriented - thus he forgets his wife.
Shakuntala is vertical.
(there now follows a passage in devanagiri characters and a partial transcription of the Nandi,
omitted for typographical reasons, ED)
omitted for typographical reasons, ED)
3
PROVISIONAL TRANSLATION OF THE NANDI:
1. That creation which is the first of all created (things),
2. That which is the clarified butter.
3. That which is at the same time the sacrificer
4 and 5. Those two which make time
6. That ground in which inhere (stand established) quality, sound and substance
(i.e. the horizontal world), filling the whole universe (vyaya visvam)
7. That which is said to be the seed of all manifestation.
8. That which gives life to all living beings
May all of you be saved by the eight bodies (presences)
Let these, the eight manifestations of the Lord,
attainable by what is given to the senses, save you.
(This is the Atman that is at the top of the vertical axis - the Omega point.
slc8-p30
(A structure in the text is here omitted as it has a line through it ED)
4
slc8-p31
WHAT IS THE RELEVANCE OF THE NANDI TO THE PLAY ITSELF?
"The play is the thing" - what you see and what you feel must correspond, resulting in joy, a revealing of human nature with its echo in the soul, an equation between the Self and the Non-Self.
What you represent while being saved has one-to-one correspondence with the action of the play. Fire is in the centre: tilt it to the Denominator and you will get Shakuntala.
The same structure will be evidenced.
There is a slight asymmetry of perspective as between the Self and the Non-Self.
The spectators are asked to put themselves in a certain mood.
Tilt the camera from the positive side of the audience to the negative side of the unhappy Shakuntala.
"The play is the thing" - what you see and what you feel must correspond, resulting in joy, a revealing of human nature with its echo in the soul, an equation between the Self and the Non-Self.
What you represent while being saved has one-to-one correspondence with the action of the play. Fire is in the centre: tilt it to the Denominator and you will get Shakuntala.
The same structure will be evidenced.
There is a slight asymmetry of perspective as between the Self and the Non-Self.
The spectators are asked to put themselves in a certain mood.
Tilt the camera from the positive side of the audience to the negative side of the unhappy Shakuntala.
.
5
.
THE VERSE IN SHAKUNTALA IS IN A FOUR-FOLD PATTERN.
He is describing the beginning of summer:
1. The days become delightful at evening.
2. To plunge in the water is so delightful.
3. The breeze is filled with perfume, blowing horizontally.
4. There is a boy sleeping in a deep shady place.
He puts people in a proper mood by first singing to them, establishing a harmony between the people and the summer season in which the action is going to take place.
The actress sings: this gives a background for a tender, erotic context.
This is a delicate, contemplative tragedy.
Flowers kissed by bees are the most delicate.
This is the world of occasionalism.
He is describing the beginning of summer:
1. The days become delightful at evening.
2. To plunge in the water is so delightful.
3. The breeze is filled with perfume, blowing horizontally.
4. There is a boy sleeping in a deep shady place.
He puts people in a proper mood by first singing to them, establishing a harmony between the people and the summer season in which the action is going to take place.
The actress sings: this gives a background for a tender, erotic context.
This is a delicate, contemplative tragedy.
Flowers kissed by bees are the most delicate.
This is the world of occasionalism.
The audience is immobilised, as in a picture: subject and object interpenetrate;
interest is evenly balanced.
interest is evenly balanced.
The wife tells the King the Denominator side.
The King is flying, so he is slightly absent-minded.
He is half-awake, to induce a similar state in the audience.
Then there is a gentle surprise - Dusyanta is brought in and the Prologue ends.
The King is flying, so he is slightly absent-minded.
He is half-awake, to induce a similar state in the audience.
Then there is a gentle surprise - Dusyanta is brought in and the Prologue ends.
The Stage Manager or Sutradhara says the words have to meet the acting:
conceptualism meets perceptualism.
That twilight zone of consciousness between them is where the drama can flourish - not too vague, not too definite.
conceptualism meets perceptualism.
That twilight zone of consciousness between them is where the drama can flourish - not too vague, not too definite.
.
6
.
ACT I
The "Pinaka-Wielder" is Shiva. This brings to mind the archetypal hunter
- to fulfil the same purpose of revealing Brahman.
This gives the drama its place in the Indian context.
First get the horizontal line clear.
The charioteer is in the centre and speaks.
The "Pinaka-Wielder" is Shiva. This brings to mind the archetypal hunter
- to fulfil the same purpose of revealing Brahman.
This gives the drama its place in the Indian context.
First get the horizontal line clear.
The charioteer is in the centre and speaks.
The King's speech indicates the horizontal vanishing point;
The King sees a jumping, zigzag line.
This is a philosophical reflection on the notion of horizontal existence.
Hunting was a necessity in the time of Shiva, at the origin of human life.
So, the hunter reveals a horizontal line.
The infinity of space and relative speed is indicated here.
There is a Fitzgerald Contraction, a telescoping; grass is falling half-eaten out of the deer's mouth.
It moves lightly; the horizontal line is mathematical.
It is bounding; this indicates the vertical and gives the zigzag line of Bergson.
It shows fear of the horizontal.
The first axis is delineated here.
The King's mind is horizontal; the deer's is vertical.
Beauty is the sinus curve of its neck.
The deer was grazing vertically until the King appeared.
The dropped grass is a schematic, dotted line of tragedy and sympathy.
"Level ground" - the King is impatient of the speed of the chariot and wants to establish reciprocity between horses and chariot in pure motion.
Once reciprocity is established in motion, then the vertical is marked by a description of the chariot and the vision of the King.
Space and time are put into the melting pot: this is a "monde affiné", as in Bergson.
"Objects...," means the speed is great. Non-dual = vertical.
Bent becomes straight.
"So great the speed...": reciprocity abolishes all perspective.
He acts fixing an arrow, only fixing the arrow, not shooting.
Then from behind the scenes comes a voice saying that the deer must not be killed, it belongs to the hermitage.
"Killing" is the last word that suggests horizontality: now, the drama is about to begin as a contest between the horizontal and the vertical.
The vertical must not be forgotten.
The King sees a jumping, zigzag line.
This is a philosophical reflection on the notion of horizontal existence.
Hunting was a necessity in the time of Shiva, at the origin of human life.
So, the hunter reveals a horizontal line.
The infinity of space and relative speed is indicated here.
There is a Fitzgerald Contraction, a telescoping; grass is falling half-eaten out of the deer's mouth.
It moves lightly; the horizontal line is mathematical.
It is bounding; this indicates the vertical and gives the zigzag line of Bergson.
It shows fear of the horizontal.
The first axis is delineated here.
The King's mind is horizontal; the deer's is vertical.
Beauty is the sinus curve of its neck.
The deer was grazing vertically until the King appeared.
The dropped grass is a schematic, dotted line of tragedy and sympathy.
"Level ground" - the King is impatient of the speed of the chariot and wants to establish reciprocity between horses and chariot in pure motion.
Once reciprocity is established in motion, then the vertical is marked by a description of the chariot and the vision of the King.
Space and time are put into the melting pot: this is a "monde affiné", as in Bergson.
"Objects...," means the speed is great. Non-dual = vertical.
Bent becomes straight.
"So great the speed...": reciprocity abolishes all perspective.
He acts fixing an arrow, only fixing the arrow, not shooting.
Then from behind the scenes comes a voice saying that the deer must not be killed, it belongs to the hermitage.
"Killing" is the last word that suggests horizontality: now, the drama is about to begin as a contest between the horizontal and the vertical.
The vertical must not be forgotten.
A voice says: "…of the Ashram, o King; he (the deer) must not be slain"
The Brahmachari is an agent of the Guru. The Ashram is an island of neutrality, it is vertical, and there is no killing there.
This is treated with much respect, even by a king.
This is an epoch-making statement: a Brahmachari is greater than a king.
The hermits are a point of insertion of the vertical.
The Brahmachari is an agent of the Guru. The Ashram is an island of neutrality, it is vertical, and there is no killing there.
This is treated with much respect, even by a king.
This is an epoch-making statement: a Brahmachari is greater than a king.
The hermits are a point of insertion of the vertical.
The hermit's speech: "...flowers burnt by fire..".
Agni (fire) is brought in. A sacrifice may be necessary in the outside world,
but not according to the vertical ahimsa (non-hurting) of the Ashram.
"Burning" is for the verticalisation of the horizontal.
"Puru": this is the archetypal pattern for all city-kings; weapons should be for decreasing, not inflicting, suffering.
He wishes:" May thou have a son", the King says, " It is accepted " and bows.
Somatirtha (the ashram) is a place on the vertical line, which intersects with the horizontal.
Kanva has gone there to rectify something about the birth of Shakuntala.
She is the daughter of Menaka, fathered by a forest Rishi; she could not be taken to heaven and so went to Kanva's ashram.
Kanva goes to determine Shakuntala's fate, but her fate is decided at Kanva's Ashram itself.
Kanva knows there is an evil fate in store for her, and has gone to Somatirtha, which is more vertical, to alleviate it, but there are certain things which are in the hands of providence.
The King's devotion - he is also innocent. (?ED)
The King's speech on entering the Ashram: there are two descriptions:
one is Jaina, or pre-Vedic, and the other Vedic, he wants to put them together.
Agni (fire) is brought in. A sacrifice may be necessary in the outside world,
but not according to the vertical ahimsa (non-hurting) of the Ashram.
"Burning" is for the verticalisation of the horizontal.
"Puru": this is the archetypal pattern for all city-kings; weapons should be for decreasing, not inflicting, suffering.
He wishes:" May thou have a son", the King says, " It is accepted " and bows.
Somatirtha (the ashram) is a place on the vertical line, which intersects with the horizontal.
Kanva has gone there to rectify something about the birth of Shakuntala.
She is the daughter of Menaka, fathered by a forest Rishi; she could not be taken to heaven and so went to Kanva's ashram.
Kanva goes to determine Shakuntala's fate, but her fate is decided at Kanva's Ashram itself.
Kanva knows there is an evil fate in store for her, and has gone to Somatirtha, which is more vertical, to alleviate it, but there are certain things which are in the hands of providence.
The King's devotion - he is also innocent. (?ED)
The King's speech on entering the Ashram: there are two descriptions:
one is Jaina, or pre-Vedic, and the other Vedic, he wants to put them together.
DESCRIPTION OF THE ASHRAM:
1. Some cereal grains, placed by parrots in the holes of trees, are overflowing: there is abundance and peace - the Jainas will never hunt or disturb living beings.
(See the Gymnosophists described by the Greek historian, Herodotus, in his account of Alexander the Great).
2. Ingudi is a nut crushed on stones for oil for lamps.
This is a self-sufficient economic system, it is simple.
3. The deer in an Ashram know no fear and are full of confidence.
The animals are protected absolutely.
4. There are lines from the washing of the clothes of the Sannyasins that mark the water level. This is inferential as are the signs described in 1 and 2; only 1 is visible.
1. Some cereal grains, placed by parrots in the holes of trees, are overflowing: there is abundance and peace - the Jainas will never hunt or disturb living beings.
(See the Gymnosophists described by the Greek historian, Herodotus, in his account of Alexander the Great).
2. Ingudi is a nut crushed on stones for oil for lamps.
This is a self-sufficient economic system, it is simple.
3. The deer in an Ashram know no fear and are full of confidence.
The animals are protected absolutely.
4. There are lines from the washing of the clothes of the Sannyasins that mark the water level. This is inferential as are the signs described in 1 and 2; only 1 is visible.
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7
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There are three kinds of inference here; he may be showing the Pramanas.
The above belongs to the Jaina context, what follows belongs to the Vedic context.
Kalidasa inserts himself into these two, before presenting Vedanta.
The King must protect the Rishi performing the fire sacrifice in the forest.
The second description is closer to the altar, since the grass is cut away,
this is more of a cultivated garden.
These two descriptions form a pedestal of two concentric circles on which to place the fire of the sacrificer. Then the vertical axis can be built from there to the voice from heaven, which will be heard by the Hotri, or sacrificer.
The clipped Dharba grass means that it has been put into the fire by the Brahmin.
The above belongs to the Jaina context, what follows belongs to the Vedic context.
Kalidasa inserts himself into these two, before presenting Vedanta.
The King must protect the Rishi performing the fire sacrifice in the forest.
The second description is closer to the altar, since the grass is cut away,
this is more of a cultivated garden.
These two descriptions form a pedestal of two concentric circles on which to place the fire of the sacrificer. Then the vertical axis can be built from there to the voice from heaven, which will be heard by the Hotri, or sacrificer.
The clipped Dharba grass means that it has been put into the fire by the Brahmin.
II
1. Sprouts of grass indicate the horizontal axis.
2. Leaves made vague indicate the Vedic world of ghee and the Hotri.
3. "Roots bathed..." indicates the denominator side, the Alpha point source,
the elementals.
4. Young fawns....
2. Leaves made vague indicate the Vedic world of ghee and the Hotri.
3. "Roots bathed..." indicates the denominator side, the Alpha point source,
the elementals.
4. Young fawns....
The river is horizontal.
Ripples; fire-bather-Brahmin (? ED).
The root is the source of the vertical axis.
This is a gentle attempt to verticalize the scene.
Ripples; fire-bather-Brahmin (? ED).
The root is the source of the vertical axis.
This is a gentle attempt to verticalize the scene.
The King descends; he is going to meet Shakuntala.
He is leaving one level and going one step down; he leaves the horses there.
He is leaving one level and going one step down; he leaves the horses there.
The King enters - the doors of possibility can open anywhere in this world.
You do not have to wait for possibilities that do not present themselves:
what happens to you is in the scheme of the best of possible worlds.
The King's arm throbs: this is traditionally a signal of disaster: the right arm for women and the left arm for men. Unhappiness is going to start now. There is a jolt in the machinery - a delicate cybernetic balance is disturbed.
The damsels with pets - there is a dialectical relationship between the young girls and their pets, there is an equation between them, they sit like a baby in their lap.
...contains sinus curves. It is like the breasts of a woman, each is different.
The beauty is in the reciprocity.
You do not have to wait for possibilities that do not present themselves:
what happens to you is in the scheme of the best of possible worlds.
The King's arm throbs: this is traditionally a signal of disaster: the right arm for women and the left arm for men. Unhappiness is going to start now. There is a jolt in the machinery - a delicate cybernetic balance is disturbed.
The damsels with pets - there is a dialectical relationship between the young girls and their pets, there is an equation between them, they sit like a baby in their lap.
...contains sinus curves. It is like the breasts of a woman, each is different.
The beauty is in the reciprocity.
The two girls.
Anasuya (lit. "without jealousy"): Kanva loves plants more than does Shakuntala: they represent the negative side of the vertical axis.
Anasuya (lit. "without jealousy"): Kanva loves plants more than does Shakuntala: they represent the negative side of the vertical axis.
Priyamvada (lit. "praising, agreeable")
"The affection of a sister" - there is a unity of life, even plants,
all is the Absolute.
"The affection of a sister" - there is a unity of life, even plants,
all is the Absolute.
8
Reciprocity is established here between Shakuntala and the flower.
Note that Vedanta never postulates something that you cannot see.
She cares for the plants through, by, for and in herself: this Atman is the same as that:
Note that Vedanta never postulates something that you cannot see.
She cares for the plants through, by, for and in herself: this Atman is the same as that:
Advaita comes alive.
Do not talk metaphysics without its lived counterpart.
The sami cut by a lotus leaf - The King says Kanva should not discipline Shakuntala, who has all her tenderness expressed as a flower.
Ascetic discipline is not for a young girl who is like a lotus leaf.
The diamond (tapas) is at the Omega point.
Dusyanta can see this from the horizontal.
Shakuntala's bark garment - this is a study in contrast, he purposely plays on the bark garment and the growing breasts of a young girl.
The joking between the girls is only meant to set off the sublimity of the King's poem.
"The beauty of women shines the more by contrast".
The one sets off the other, like the spot on the moon.
The two opposites cancel.
She shines by double negation - the bark garment,
and by double assertion - her own beauty.
She does violence to her own nature and becomes more beautiful;
she accepts the renunciation of Shiva.
Ascetic discipline is not for a young girl who is like a lotus leaf.
The diamond (tapas) is at the Omega point.
Dusyanta can see this from the horizontal.
Shakuntala's bark garment - this is a study in contrast, he purposely plays on the bark garment and the growing breasts of a young girl.
The joking between the girls is only meant to set off the sublimity of the King's poem.
"The beauty of women shines the more by contrast".
The one sets off the other, like the spot on the moon.
The two opposites cancel.
She shines by double negation - the bark garment,
and by double assertion - her own beauty.
She does violence to her own nature and becomes more beautiful;
she accepts the renunciation of Shiva.
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slc8-p37
What is it that could not serve as an ornament?
The paradox is transcended by her beauty.
The paradox is transcended by her beauty.
The Kesara tree and the creeper: the moving leaves seem to beckon to her.
Priyamvada sees the same beauty as the King; it is absolute beauty; both agree.
"Dusyanta is calling you" that is the dvanyarta (saying one thing in terms of another).
The creeper hangs on the tree for support while putting out flowers.
This is also schematic.
The creeper hangs on the tree for support while putting out flowers.
This is also schematic.
The bark garment - why is it tied with delicate knots?
"Both spoiling the beauty, as also acting as an ornament".
This means that the dress is embellished from the Numerator
and detracted from by the Denominator.
Beauty is brought out by contrast, as in the case of the spots on the moon or a lotus next to moss.
A leaf can cover a flower in its tender state; it can also be an ornament to its beauty. Both are presented here.
The King purposely leaves the paradox here.
The delicate knots are supporting the breasts from the numerator side, from the shoulders.
"Both spoiling the beauty, as also acting as an ornament".
This means that the dress is embellished from the Numerator
and detracted from by the Denominator.
Beauty is brought out by contrast, as in the case of the spots on the moon or a lotus next to moss.
A leaf can cover a flower in its tender state; it can also be an ornament to its beauty. Both are presented here.
The King purposely leaves the paradox here.
The delicate knots are supporting the breasts from the numerator side, from the shoulders.
9
To appreciate the beauty of Shakuntala, approach her from the austere side, her youth comes from below, there is a tragedy when youth and austerity meet.
Shakuntala is like a mango sprouting young leaves, a creeper putting forth flowers.
There is a dialectical relationship between them; the marriage of plants at the proper season, a gentle conspiracy of nature.
One must be attuned in order to appreciate these factors.
There is a pre-established harmony (cf. Leibnitz) between the mango and the creeper.
One must be attuned in order to appreciate these factors.
There is a pre-established harmony (cf. Leibnitz) between the mango and the creeper.
Nature is full of occasionalism, especially in the spring.
What is her caste? - his conscience is his own Pramana, his heart will only be attracted by a certain type of woman.
She must be, among other things, fully horizontal and vital.
The King belongs to the horizontal context, so the wife cannot be like a peasant, below the line on the negative side.
How can a vertical girl meet the horizontal king?
He is puzzled by the one-one correspondence in the Ashram.
She must be, among other things, fully horizontal and vital.
The King belongs to the horizontal context, so the wife cannot be like a peasant, below the line on the negative side.
How can a vertical girl meet the horizontal king?
He is puzzled by the one-one correspondence in the Ashram.
The King's speech about the bee - dvanyarta (see above)
- the King is describing his own intentions through the reality of the bee.
The bee is flying between the ears and eyes and the lower lip.
This is the square root of minus-one: the beauty of a woman is to be found on the negative side.
The bee is a universal principle of honey seeking; the buzzing noise is meant for nature to hear that it is seeking something.
It is touching the throbbing eye - the eyes are like the Sapharika fish: the seat of gossip is between the eyes and the ears - between what you see and what you hear. The lover will be doing the same thing, kissing the eyes and the ears and whispering - just like the bees: put them together and you will get a mystical world which can take in the Absolute with all its implications.
If the bee appreciates her face, then it is Absolute Beauty.
The King is alluded to - the whole of nature conspires.
Shakuntala feels emotions not fit for an Ashram, she knows they are horizontal.
The King says that he is on duty.
- the King is describing his own intentions through the reality of the bee.
The bee is flying between the ears and eyes and the lower lip.
This is the square root of minus-one: the beauty of a woman is to be found on the negative side.
The bee is a universal principle of honey seeking; the buzzing noise is meant for nature to hear that it is seeking something.
It is touching the throbbing eye - the eyes are like the Sapharika fish: the seat of gossip is between the eyes and the ears - between what you see and what you hear. The lover will be doing the same thing, kissing the eyes and the ears and whispering - just like the bees: put them together and you will get a mystical world which can take in the Absolute with all its implications.
If the bee appreciates her face, then it is Absolute Beauty.
The King is alluded to - the whole of nature conspires.
Shakuntala feels emotions not fit for an Ashram, she knows they are horizontal.
The King says that he is on duty.
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10
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There is a sparkling light - trembling beauty comes from the hypostatic side; it cannot come from the "surface of the earth".
This relates to Shakuntala being born of a heavenly nymph.
Shakuntala's beauty is not only sprung from nature, but descends as well from the Numerator: real beauty comes from the two sides - there is a glow that is not from chemistry, but it is faster than the velocity of light.
This relates to Shakuntala being born of a heavenly nymph.
Shakuntala's beauty is not only sprung from nature, but descends as well from the Numerator: real beauty comes from the two sides - there is a glow that is not from chemistry, but it is faster than the velocity of light.
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slc8-p39a
slc8-p39b
Movement begins to build up vertically.
The chariot and the charioteer cancel into Zeno's Paradox.
Vertical values begin to prevail, the ascent begins. The dotted circle is magic, inside it there is no fear.
The second pedestal is created by bringing in the horses; actual speed is transformed into psychological speed.
There are three deer: afraid; not afraid; not sacrificed,
The chariot and the charioteer cancel into Zeno's Paradox.
Vertical values begin to prevail, the ascent begins. The dotted circle is magic, inside it there is no fear.
The second pedestal is created by bringing in the horses; actual speed is transformed into psychological speed.
There are three deer: afraid; not afraid; not sacrificed,
There are two pedestals:
1. Jaina - referring to space
2. Vedic - referring to time
This refers to history, not geography: one is in the mind and the other is outside it.
1. Jaina - referring to space
2. Vedic - referring to time
This refers to history, not geography: one is in the mind and the other is outside it.
.
slc8-p39c
To bring in the reciprocity of movement, you bring in the horses, who are afraid of the speed of the chariot: not just A > B, but A B
Then it becomes vertical.
Now two O Points have been created as two pedestals.
Then it becomes vertical.
Now two O Points have been created as two pedestals.
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slc8-p39d
The ripples on the river are the hairs upon the mother's skin -
she descends from above to feed the baby:
this is a Vedic heaven, which nourishes the child.
The river surface glistens from the sun above, not from below.
The O Point here is the navel of the mother.
The Sun God shines on the river, the nourishment is sucked up by the tree.
There is a fire at the O Point, a fire of hunger or of sacrifice.
So there are two pedestals: proto-Aryan and Vedic.
she descends from above to feed the baby:
this is a Vedic heaven, which nourishes the child.
The river surface glistens from the sun above, not from below.
The O Point here is the navel of the mother.
The Sun God shines on the river, the nourishment is sucked up by the tree.
There is a fire at the O Point, a fire of hunger or of sacrifice.
So there are two pedestals: proto-Aryan and Vedic.
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slc8-p39e
This is the structure of the first description for comparison
Anyway; the two pedestals are constructed.
Bhur-, Bhuvar- and Svar-lokas (the three worlds of earth, heaven and in between) correspond to:
Anyway; the two pedestals are constructed.
Bhur-, Bhuvar- and Svar-lokas (the three worlds of earth, heaven and in between) correspond to:
1. Cognition
2. Dusyanta's forgetfulness, the breaking of the continuity
3. Re-cognition.
2. Dusyanta's forgetfulness, the breaking of the continuity
3. Re-cognition.
The second pedestal also contains fawns - for kindness is also there.
The smoke rising makes it into a "Monde affiné".
Contemplation requires subjectivity.
Glistening is most important: the skin of a woman is where nourishment comes from: the hair on a mother's stomach is holy: it comes from above.
"The soul of a child is its rosy behind".
The Vedic world is brought in for need of a voice from heaven for his cosmology and for the telling of the story.
The deer are innocent: note their willingness to believe... this is not Jaina.
"Tremulous beams" - their origin is in the sun and the moon, not the earth,
so he recognises the hypostatic side: Saraswati
(see V 75 in the Saundarya Lahari of Sankara).
The hermits may be questioned: they have no reserve, no cheques to cash.
No conventional barriers; "contemplatives are not bothered by conventions".
"Having eyes like her own": female deer >< Shakuntala.
The bright eyes are very vertical. A husband is not needed.
This is the Absolute from the negative side. It is vitalistic.
Is she going to continue vertically, or is she going to spread out to the horizontal?
She is dependent on another; she will not make her own decision.
If the horizontal had not interfered, she could have continued vertically like the deer, as a Brahmacharini (ashram student), this is the implication.
Priyamvada says that Shakuntala is meant for marriage;
thus the King is not violating Shakuntala's svadharma (destiny).
The vertical line of light is to be broken.
The King asks: " Is she going to live the rest of her life like the female deer, with half-drunk eyes?"
She has certain traits, which show she wants a husband badly.
The King wants to say that Shakuntala is perfect both vertically and horizontally; thus the event has to take place exactly at the O Point.
It is possible for her to pass through the horizontal without incident,
but Kanva intends her for a normal marriage.
This means that the two axes must combine and merge properly.
Do not say that one is good and the other bad.
Take what the King says, what Priyamvada says and what Kalidasa says and put them all together in the scheme of the Nandi: get salvation.
A woman has to be dependent on her father's wish:
this is the saddest of truths. She has to be dependent.
Why is a father's soul so concerned about his daughter's chastity?
The smoke rising makes it into a "Monde affiné".
Contemplation requires subjectivity.
Glistening is most important: the skin of a woman is where nourishment comes from: the hair on a mother's stomach is holy: it comes from above.
"The soul of a child is its rosy behind".
The Vedic world is brought in for need of a voice from heaven for his cosmology and for the telling of the story.
The deer are innocent: note their willingness to believe... this is not Jaina.
"Tremulous beams" - their origin is in the sun and the moon, not the earth,
so he recognises the hypostatic side: Saraswati
(see V 75 in the Saundarya Lahari of Sankara).
The hermits may be questioned: they have no reserve, no cheques to cash.
No conventional barriers; "contemplatives are not bothered by conventions".
"Having eyes like her own": female deer >< Shakuntala.
The bright eyes are very vertical. A husband is not needed.
This is the Absolute from the negative side. It is vitalistic.
Is she going to continue vertically, or is she going to spread out to the horizontal?
She is dependent on another; she will not make her own decision.
If the horizontal had not interfered, she could have continued vertically like the deer, as a Brahmacharini (ashram student), this is the implication.
Priyamvada says that Shakuntala is meant for marriage;
thus the King is not violating Shakuntala's svadharma (destiny).
The vertical line of light is to be broken.
The King asks: " Is she going to live the rest of her life like the female deer, with half-drunk eyes?"
She has certain traits, which show she wants a husband badly.
The King wants to say that Shakuntala is perfect both vertically and horizontally; thus the event has to take place exactly at the O Point.
It is possible for her to pass through the horizontal without incident,
but Kanva intends her for a normal marriage.
This means that the two axes must combine and merge properly.
Do not say that one is good and the other bad.
Take what the King says, what Priyamvada says and what Kalidasa says and put them all together in the scheme of the Nandi: get salvation.
A woman has to be dependent on her father's wish:
this is the saddest of truths. She has to be dependent.
Why is a father's soul so concerned about his daughter's chastity?
.
11
.
If you neglect the father's wishes there will be disaster.
The fire and the gem: the King thought it was a fire in a cavern, but it was a gem.
Poetic justice requires that the King be correct; his duty is now clear to him;
it is almost a categorical imperative that he makes love to her.
But he will forget, as the first dimension causes the fourth dimension to be lost.
Neither of them is a yogi:
the King is non-innocent and horizontal,
Shakuntala is innocent and vertical.
Life is a paradox, understand that and it dissolves itself in the liquid of unitive understanding.
The obstructions seemed to have been removed from the King's social conscience. Kalidasa seems to be approving.
Gautami is the mother superior of the convent; it has to have supervision.
The first-dimensional touch of anger is to be there:
there is no idealism in Vedanta: it is apodictic and realistic.
Bodily movements, etc. - there is little difference between intentional movement and actual movement:
"as if he had gone and come back again".
Intentionality: he thinks of going, then changes his mind.
Actual going and coming has the same status as mental going and coming.
Shakuntala is spoken of as a "hermit's daughter" in order to bring in the fourth dimension, making her a universal concrete.
So, the intentional and the actual have the same status in phenomenological epistemology.
The girls are all interested in Shakuntala's love.
The Absolute is participated in by everybody.
There is some Absolutist interest.
Priyamvada turns her back; she does not want to leave.
A beautiful pose - later for this.
The King's ring - She must be tired from carrying water, the King will pay the debt with his signet ring.
Description: both her hands are red from lifting the two pots
There are two trees to be watered, her hands droop, her breasts heave, etc.
Thus dvanyarta (saying one thing in terms of another), the O point in a woman's life has been touched:
the whole of nature conspires to unite her with Dusyanta.
Instead of watering the plants for her, he gives her the ring
- this needs more attention.
The debt of Shakuntala is "paid": the whole thing is conceptual and nominalistic.
Shakuntala says: "I do not belong to that world - settle your disputes
- I am on the Denominator side, and that is another order of existence.
The fire and the gem: the King thought it was a fire in a cavern, but it was a gem.
Poetic justice requires that the King be correct; his duty is now clear to him;
it is almost a categorical imperative that he makes love to her.
But he will forget, as the first dimension causes the fourth dimension to be lost.
Neither of them is a yogi:
the King is non-innocent and horizontal,
Shakuntala is innocent and vertical.
Life is a paradox, understand that and it dissolves itself in the liquid of unitive understanding.
The obstructions seemed to have been removed from the King's social conscience. Kalidasa seems to be approving.
Gautami is the mother superior of the convent; it has to have supervision.
The first-dimensional touch of anger is to be there:
there is no idealism in Vedanta: it is apodictic and realistic.
Bodily movements, etc. - there is little difference between intentional movement and actual movement:
"as if he had gone and come back again".
Intentionality: he thinks of going, then changes his mind.
Actual going and coming has the same status as mental going and coming.
Shakuntala is spoken of as a "hermit's daughter" in order to bring in the fourth dimension, making her a universal concrete.
So, the intentional and the actual have the same status in phenomenological epistemology.
The girls are all interested in Shakuntala's love.
The Absolute is participated in by everybody.
There is some Absolutist interest.
Priyamvada turns her back; she does not want to leave.
A beautiful pose - later for this.
The King's ring - She must be tired from carrying water, the King will pay the debt with his signet ring.
Description: both her hands are red from lifting the two pots
There are two trees to be watered, her hands droop, her breasts heave, etc.
Thus dvanyarta (saying one thing in terms of another), the O point in a woman's life has been touched:
the whole of nature conspires to unite her with Dusyanta.
Instead of watering the plants for her, he gives her the ring
- this needs more attention.
The debt of Shakuntala is "paid": the whole thing is conceptual and nominalistic.
Shakuntala says: "I do not belong to that world - settle your disputes
- I am on the Denominator side, and that is another order of existence.
12
The alarm is sounded - the harsh, horizontal world intervenes.
The elephant is Ganesha, who must be propitiated if the forest is to be peaceful: space and wind can create trouble: the elements in turmoil are Ganesha.
Shakuntala is held back: nature conspires to have its own way.
Does it really conspire? Nature can laugh at you.
Nature can both protest and conspire.
At a given moment in a woman's life it becomes absolutely necessary for her to have a child.
When nature conspires against a man, he should know how to propitiate the elephant god.
The elephant is Ganesha, who must be propitiated if the forest is to be peaceful: space and wind can create trouble: the elements in turmoil are Ganesha.
Shakuntala is held back: nature conspires to have its own way.
Does it really conspire? Nature can laugh at you.
Nature can both protest and conspire.
At a given moment in a woman's life it becomes absolutely necessary for her to have a child.
When nature conspires against a man, he should know how to propitiate the elephant god.
.
THE END OF ACT I
slc8-p63a.
The power of the King is bright and derived from the Numerator side.
Shakuntala gets caught in a tree, while the others fall faster.
She says: "I am an ontological reality, why do you (illegible: "plore"? ED) for me?"
The King derives his power from the sun and moon.
"Holding hair": keeping a connection with the Numerator side: she is trying.
She is naturally falling down, but the tree is holding her.
The two plants to be watered means two children.
Water is at the Alpha point.
Perspiration is cancelling the Sirisa flower.
She is panting, in a completely negative state.
Her red hands mean that she is completely healthy - it is not due to bad health.
You have to worship the elephant to calm the situation.
The horizontal zone is forgetfulness. Memory is vertical.
The whole mistake was when the King came to the ashram.
The King kills deer, why come to the ashram?
Shakuntala is like a deer.
The drooping Sirisa flower means unhappiness - a negative suffering.
If the Devi's eyebrows vibrated, Shakuntala would be lifted up.
Shakuntala gets caught in a tree, while the others fall faster.
She says: "I am an ontological reality, why do you (illegible: "plore"? ED) for me?"
The King derives his power from the sun and moon.
"Holding hair": keeping a connection with the Numerator side: she is trying.
She is naturally falling down, but the tree is holding her.
The two plants to be watered means two children.
Water is at the Alpha point.
Perspiration is cancelling the Sirisa flower.
She is panting, in a completely negative state.
Her red hands mean that she is completely healthy - it is not due to bad health.
You have to worship the elephant to calm the situation.
The horizontal zone is forgetfulness. Memory is vertical.
The whole mistake was when the King came to the ashram.
The King kills deer, why come to the ashram?
Shakuntala is like a deer.
The drooping Sirisa flower means unhappiness - a negative suffering.
If the Devi's eyebrows vibrated, Shakuntala would be lifted up.
.
.
slc8-p63b
Shakuntala has the fatigue of a woman who is not married.
The Sirisa flower's glow is disturbed - it is numerator and disturbed by the denominator perspiration.
The flower is not happy, because she is unhappy inside.
She is almost like a dying person, she is panting.
Do not ask her not to get married.
There is delicately woven language here;
2 plants = 2 children
2 pots = 2 breasts
2 waters = 2 milks
The Sirisa flower's glow is disturbed - it is numerator and disturbed by the denominator perspiration.
The flower is not happy, because she is unhappy inside.
She is almost like a dying person, she is panting.
Do not ask her not to get married.
There is delicately woven language here;
2 plants = 2 children
2 pots = 2 breasts
2 waters = 2 milks
13
The most important thing is that nobody asks Shakuntala what she wants.
She has to say, "do not settle my debts"
Who is concerned with Gomati's happiness?
A civil suit for debt allows the King to enter the dispute.
She has to say, "do not settle my debts"
Who is concerned with Gomati's happiness?
A civil suit for debt allows the King to enter the dispute.
The signet ring - the two friends see and read it: this is the horizontal conventional world of the King:
Shakuntala does not see it.
Does she feel towards me as I feel towards her?
She pretends not to listen, but hears every word;
though her body is turned away from the object of interest, her eyes and ears are really interested.
So there is a link: there is ground for hope.
This is the same as the deer turning, but this is a verticalized version.
Then the hermits' voices are heard: here the horizontal is inserted again.
The peaceful aspect of the Ashram is disturbed.
The dust is horizontal, the Sanyasis' cloth is vertical: put them together.
The dust becomes a patch of colour - take LSD.
Twilight scene = magenta = Absolute.
Shakuntala does not see it.
Does she feel towards me as I feel towards her?
She pretends not to listen, but hears every word;
though her body is turned away from the object of interest, her eyes and ears are really interested.
So there is a link: there is ground for hope.
This is the same as the deer turning, but this is a verticalized version.
Then the hermits' voices are heard: here the horizontal is inserted again.
The peaceful aspect of the Ashram is disturbed.
The dust is horizontal, the Sanyasis' cloth is vertical: put them together.
The dust becomes a patch of colour - take LSD.
Twilight scene = magenta = Absolute.
There are two magentas: the Sanyasis' cloth is vertical, and the dust and sunset are horizontal.
The King's officers search for him: there is a conflict of horizontal and vertical interests.
The two friends say: "We are afraid, we are going back"
"Honoured by the sight of you" this is the perceptual side, not words.
Shakuntala is caught: "Wait until I loosen it" - delays.
The King's officers search for him: there is a conflict of horizontal and vertical interests.
The two friends say: "We are afraid, we are going back"
"Honoured by the sight of you" this is the perceptual side, not words.
Shakuntala is caught: "Wait until I loosen it" - delays.
"A banner against the wind": "I am related to the vertical, the heart, not to the horizontal body".
She is not interested in horizontal movement, but respects the reciprocity of the two movements - vertical.
This is the reciprocity of horizontal movement (see Bergson).
End of Act I.
She is not interested in horizontal movement, but respects the reciprocity of the two movements - vertical.
This is the reciprocity of horizontal movement (see Bergson).
End of Act I.
.
slc8-p64.
(The following notes will cover these scenes again, for clarification of the schema and re-examination.)
14
From Shakuntala about to go away.
slc8-p65a
Shakuntala wants to leave but Priyamvada "forces her back":
She says she has a "debt" of two plants to water.
The King will pay back the debt:
Kalidasa wants to give an ordinary, conventional scene; the ordinary,
the horizontal axis is here exposed.
Physical fatigue.
Einstein will be brought in later.
The King desires to give her a ring: he wants to pay wages for labour; the ring has some value.
He is a gentleman, as well as a King.
Reading the signet ring absolves from the debt.
"Who are you to send me away or hold me back? You are bargaining as if in a market-place or in a bank; I am real, existential."
Eyes and ears: a perfect picture of reciprocity - she turns away
- and yet still looks by side-glances and listens with her ears.
The alarm is sounded: untrained elephants are raising havoc -
horizontal values are prevailing.
She says she has a "debt" of two plants to water.
The King will pay back the debt:
Kalidasa wants to give an ordinary, conventional scene; the ordinary,
the horizontal axis is here exposed.
Physical fatigue.
Einstein will be brought in later.
The King desires to give her a ring: he wants to pay wages for labour; the ring has some value.
He is a gentleman, as well as a King.
Reading the signet ring absolves from the debt.
"Who are you to send me away or hold me back? You are bargaining as if in a market-place or in a bank; I am real, existential."
Eyes and ears: a perfect picture of reciprocity - she turns away
- and yet still looks by side-glances and listens with her ears.
The alarm is sounded: untrained elephants are raising havoc -
horizontal values are prevailing.
Act II begins.
Enter Vidusaka (the buffoon): he is the embodiment of sarcastic wit:
he is bitter and dissatisfied with everything.
We should take the value-content of what he says.
He leans on his staff, feigning paralysis.
He represents a sterile world, the opposite of Shakuntala.
Enter Vidusaka (the buffoon): he is the embodiment of sarcastic wit:
he is bitter and dissatisfied with everything.
We should take the value-content of what he says.
He leans on his staff, feigning paralysis.
He represents a sterile world, the opposite of Shakuntala.
slc8-p65b
The conceptual world is sterile and empty of content: there is no Omega point.
No shade, some water, no sleep, wakened by the sons of the slave-girls
(hard work, activity), his joints are painful.
He belongs to one right angle of the scheme.
He is leaning on a staff - this is the structural key.
The King is on the horizontal axis with the tiger, bear, deer, the sons of the slave-girls, Yavanas, girls, etc.
The King's speech: a man in love interprets everything with himself as a reference.
You can guess from this that he is in love.
Fat hips: this is the negative vertical representing the feminine psyche.
No shade, some water, no sleep, wakened by the sons of the slave-girls
(hard work, activity), his joints are painful.
He belongs to one right angle of the scheme.
He is leaning on a staff - this is the structural key.
The King is on the horizontal axis with the tiger, bear, deer, the sons of the slave-girls, Yavanas, girls, etc.
The King's speech: a man in love interprets everything with himself as a reference.
You can guess from this that he is in love.
Fat hips: this is the negative vertical representing the feminine psyche.
15
.
slc8-p66a
All love affairs are a reciprocity of the vertical axis.
The law of reciprocity is like the law of gravity - there is bipolarity.
He is abstracting and generalising about all people anywhere who are in love:
he is sure to use himself as a reference and invert with one-to-one correspondence.
"She is behaving with complementarity and reciprocity to my mind."
So there is one-to-one correspondence with four aspects.
The relationship is perfectly vertical.
The Vidusaka goes on to cross the horizontal - with its own quaternion.
The law of reciprocity is like the law of gravity - there is bipolarity.
He is abstracting and generalising about all people anywhere who are in love:
he is sure to use himself as a reference and invert with one-to-one correspondence.
"She is behaving with complementarity and reciprocity to my mind."
So there is one-to-one correspondence with four aspects.
The relationship is perfectly vertical.
The Vidusaka goes on to cross the horizontal - with its own quaternion.
.
.
slc8-p66b
"Pimple on a boil" he is mocking the King for seeing only the surface, the plus side
- which will cause suffering.
He is not aware of the negative side of Shakuntala
- which will cause suffering.
He is not aware of the negative side of Shakuntala
The reciprocity between the King and Shakuntala is based only on eyes and ears - this is the vertical reciprocity: there is a perfect bipolarity
- her hips are heavy, his are light.
Shakuntala is rich in negative emotional content.
The King and Shakuntala turn in opposite directions: this is a secret;
the bee and the lotus turn in opposite directions, this is reciprocity.
The hips are compensation,
- her hips are heavy, his are light.
Shakuntala is rich in negative emotional content.
The King and Shakuntala turn in opposite directions: this is a secret;
the bee and the lotus turn in opposite directions, this is reciprocity.
The hips are compensation,
There is cancellability between the eyes and ears - this is a figure eight.
The Vidusaka does not move. The essence of humour is horizontal conflict.
His humour is always against someone, always sarcastic.
The reed bends: "I am caught in the same situation, the same stream, as you."
"Let the buffalo plunge..."
this marks the transition from the horizontal to the vertical.
A sudden lassitude overtakes the King, his mind goes from the horizontal to the Negative vertical.
"Anyway, the deer look at me with eyes like Shakuntala's."
The horizontal is abolished through true love.
The deer and Shakuntala both look at the King:
one is horizontal, the other vertical.
He cannot kill them, they turn their heads to look at him in the same way as Shakuntala: vertically, fear becomes love.
Buffaloes etc: there are three animals mentioned.
Let them come into the natural order.
The bowstring is loosened and becomes vertical.
His humour is always against someone, always sarcastic.
The reed bends: "I am caught in the same situation, the same stream, as you."
"Let the buffalo plunge..."
this marks the transition from the horizontal to the vertical.
A sudden lassitude overtakes the King, his mind goes from the horizontal to the Negative vertical.
"Anyway, the deer look at me with eyes like Shakuntala's."
The horizontal is abolished through true love.
The deer and Shakuntala both look at the King:
one is horizontal, the other vertical.
He cannot kill them, they turn their heads to look at him in the same way as Shakuntala: vertically, fear becomes love.
Buffaloes etc: there are three animals mentioned.
Let them come into the natural order.
The bowstring is loosened and becomes vertical.
.
slc8-p66c
slc8-p66d
slc8-p66e
Unstring the bow and it becomes vertical.
The hermits have fire: this is a laser ray.
There is a stone like a lens, which is pleasant to touch,
but which can burn when exposed to the sun's rays.
Thus, the ashram is quiet, but do not think there is no fire there.
If the horizontal fire falls on it, it will vomit vertical death rays.
This is a reference to Tapas.
The hermits have fire: this is a laser ray.
There is a stone like a lens, which is pleasant to touch,
but which can burn when exposed to the sun's rays.
Thus, the ashram is quiet, but do not think there is no fire there.
If the horizontal fire falls on it, it will vomit vertical death rays.
This is a reference to Tapas.
16
"Son of a slave-girl" means "born out of necessity".
"I am not able to bend this strung bow, with the arrow fixed upon it,
against the fawns, who, abiding with my darling, have taught her those beautiful glances. When I think of Kanva's daughter, I have little relish for hunting, for...."
against the fawns, who, abiding with my darling, have taught her those beautiful glances. When I think of Kanva's daughter, I have little relish for hunting, for...."
Horizontal deer are looking back at the arrows in the opening scene.
Vertical Shakuntala is looking back at the King.
Vertical Shakuntala is looking back at the King.
The King and Vidusaka are sitting on a slab - the stage has been cleared.
Spirituality succeeds by a logarithmic spiral.
Spirituality succeeds by a logarithmic spiral.
.
.
slc8-p67a
The creeper means Shakuntala.
The King has a positive and a negative side.
The Vidusaka has only an actual positive side - chocolates.
The Vidusaka tries to obstruct the King with conventional arguments.
Conventional men always obstruct true love.
The King: "I am talking about Shakuntala: speak as directly as possible - no phoney rhetoric."
Sun Plant: two plants are compared, one is more hypostatic.
Date - Tamarind: the comparison is like that between an insipid Parsi woman and an earthy Marathi coolie girl.
The Drawing: at first it is mathematical, then the outline is filled in by the creator.("A scheme in the mind of the creator")
The King has a positive and a negative side.
The Vidusaka has only an actual positive side - chocolates.
The Vidusaka tries to obstruct the King with conventional arguments.
Conventional men always obstruct true love.
The King: "I am talking about Shakuntala: speak as directly as possible - no phoney rhetoric."
Sun Plant: two plants are compared, one is more hypostatic.
Date - Tamarind: the comparison is like that between an insipid Parsi woman and an earthy Marathi coolie girl.
The Drawing: at first it is mathematical, then the outline is filled in by the creator.("A scheme in the mind of the creator")
.
.
slc8-p67b
.
1. Make an outline sketch -NUMERATOR
2. Give it content -DENOMINATOR
This is in keeping with the Upanishadic version of creation.
2. Give it content -DENOMINATOR
This is in keeping with the Upanishadic version of creation.
The beauty of Shakuntala is described negatively in a classical verse:
"a flower unsmelt, in itself, by and through itself" - before duality.
This is Absolute Beauty, by definition.
Shakuntala's eyes and smile: this is a paradox:
the smiles are for another reason than love: i.e. she is hiding love.
"Caught": the grass is the arrow - from below.
The numerator side dress is also entangled (suppose);
She is seeking imaginary reasons for staying.
"a flower unsmelt, in itself, by and through itself" - before duality.
This is Absolute Beauty, by definition.
Shakuntala's eyes and smile: this is a paradox:
the smiles are for another reason than love: i.e. she is hiding love.
"Caught": the grass is the arrow - from below.
The numerator side dress is also entangled (suppose);
She is seeking imaginary reasons for staying.
.
17
.
slc8-p67c
The obstruction of the garment is a false pretext for turning.
The King is the centre of attraction.
Here the garment is an excuse for not going away.
The King is the centre of attraction.
Here the garment is an excuse for not going away.
The hermits give a sixth part of piety: there are no taxes for them: they meditate.
They are a vertical value for the Kingdom, surplus value.
Enter the hermit boys: they pay compliments to the king as having a very high Numerator Value.
He is austere in that his treasures are for the General Good.
The King is compared to a Muni (sage), and says that they are both the same: this is Advaita.
The King controls his subjects - the Muni controls his senses.
Structurally they are the same: this is Advaita.
If they are placed in their proper perspectives, they are the same.
They are a vertical value for the Kingdom, surplus value.
Enter the hermit boys: they pay compliments to the king as having a very high Numerator Value.
He is austere in that his treasures are for the General Good.
The King is compared to a Muni (sage), and says that they are both the same: this is Advaita.
The King controls his subjects - the Muni controls his senses.
Structurally they are the same: this is Advaita.
If they are placed in their proper perspectives, they are the same.
ADDHYA KRANTA VASATIRAMUNAPYASRAME SARVABHOGYE
RAKSHAYOGADAYAMAPI TAPA PRATYAHAM SANCHINOTI
ADYAPI DYAM SPRISATI VASIANASCHARANADVANDVA GITA
PUNYAHA SABDO MUNIRITI MUHUH KEVALAM RAJAPURVAHA
RAKSHAYOGADAYAMAPI TAPA PRATYAHAM SANCHINOTI
ADYAPI DYAM SPRISATI VASIANASCHARANADVANDVA GITA
PUNYAHA SABDO MUNIRITI MUHUH KEVALAM RAJAPURVAHA
The Kingdom is also self-sufficient - like an ashram.
This is a horizontal forest - the ashram is a vertical forest.
All values are found within this magic circle.
Because he cares for the subjects, he is doing Tapas (practising renunciation) every day.
"Even today, two birds sing his praises in heaven, because he holds everything in his control".
He is the master of himself and thus he the same function structurally as a Muni.
The apparent difference between contemplation and politics is abolished.
This is a horizontal forest - the ashram is a vertical forest.
All values are found within this magic circle.
Because he cares for the subjects, he is doing Tapas (practising renunciation) every day.
"Even today, two birds sing his praises in heaven, because he holds everything in his control".
He is the master of himself and thus he the same function structurally as a Muni.
The apparent difference between contemplation and politics is abolished.
18
Up to this point there are three references to the bodice hurting.
They must be located schematically :
They must be located schematically :
Shakuntala is verticalized in the tree - the tree is a vertical axis.
Anasuya is next.
Priyamvada is the most conventional.
Anasuya is next.
Priyamvada is the most conventional.
The King has loosened the bowstring - that is, he has verticalized.
He interprets what she does with reference to himself;
he wants to establish an equation between the Self and the non-Self.
Shakuntala is leaving: the tree and the thorn are imaginary.
He interprets what she does with reference to himself;
he wants to establish an equation between the Self and the non-Self.
Shakuntala is leaving: the tree and the thorn are imaginary.
The Hermits: "O, joy...."
The King represents the complementary counterpart of the hermits:
this is imaginary benefit in the vertical axis.
It is a great event: all the great numerator values belong to the King, they are complementary.
The poor Denominator cancels out against the rich Numerator.
(give the superintendent of police a chair in the ashram)
"Render unto Caesar that which is Caesar's..."
Here are two economic worlds existing without conflict.
The King represents the complementary counterpart of the hermits:
this is imaginary benefit in the vertical axis.
It is a great event: all the great numerator values belong to the King, they are complementary.
The poor Denominator cancels out against the rich Numerator.
(give the superintendent of police a chair in the ashram)
"Render unto Caesar that which is Caesar's..."
Here are two economic worlds existing without conflict.
.
.
.
The surplus value of Munis (sages) is their Tapas (penance), one sixth of it goes to the King
The surplus value of the king goes to the Omega point with the birds.
One sixth is the surplus value; the glory of a king's crown is a compliment to the servant.
A sum of money from the welfare state is another matter - horizontal and ordinary.
One sixth is the surplus value; the glory of a king's crown is a compliment to the servant.
A sum of money from the welfare state is another matter - horizontal and ordinary.
The praise of the King: (see previous page)
The general good and the good of all are secured: they are open to everyone.
The King and the people both use an umbrella: this is qualitative equality.
He is looking at the people quantitatively and qualitatively.
He is living from day to day, serving the vertical axis.
Penance is the surplus value.
So there is mutual admiration between two economic systems: abundancist and opulencist.
The King is free of passion, though vertically in love with Shakuntala.
The first hermit is qualitative, the second hermit is quantitative; but they agree.
The second is talking about geography and battles; the kingdom girded by the ocean.
This is a circle, a peripheral limit, while the first refers to the vertical axis.
This is a horizontal circle protecting the frontiers: - boundaries are important.
Indra's thunderbolt is vertical.
The general good and the good of all are secured: they are open to everyone.
The King and the people both use an umbrella: this is qualitative equality.
He is looking at the people quantitatively and qualitatively.
He is living from day to day, serving the vertical axis.
Penance is the surplus value.
So there is mutual admiration between two economic systems: abundancist and opulencist.
The King is free of passion, though vertically in love with Shakuntala.
The first hermit is qualitative, the second hermit is quantitative; but they agree.
The second is talking about geography and battles; the kingdom girded by the ocean.
This is a circle, a peripheral limit, while the first refers to the vertical axis.
This is a horizontal circle protecting the frontiers: - boundaries are important.
Indra's thunderbolt is vertical.
.
19
The King rises when the hermits enter, he says:
"What is your command? I am the servant of the Ashram"
The descendants of Puru (i.e. kings) are officiating priests for the distressed.
The same function - sacrifice to the Absolute - is performed both by the King and by the hermits.
"What is your command? I am the servant of the Ashram"
The descendants of Puru (i.e. kings) are officiating priests for the distressed.
The same function - sacrifice to the Absolute - is performed both by the King and by the hermits.
At the end of the act: there is a barrier, revealed by Kalidasa,
but the verticality of the King and Shakuntala is so absolute that all other arguments fall away.
but the verticality of the King and Shakuntala is so absolute that all other arguments fall away.
"Both speak": this means that there is perfect parity between them.
They will fly up in a spiral to the top of a dome where the two birds are praising the vertical axis.
In another verse, the eyes and ears of Shakuntala also have this parity;
WHEN A MAN IN LOVE SEES A WOMAN, WHAT HE REALLY SEES IS HIS OWN SELF.
"KAMI SWATAM PASYATI" - A MAN IN LOVE HIS OWN SELF SEES
Two voices at the bottom - two birds at the top.
At the Omega point, there is just light;
a little lower and there is Indra's thunderbolt; below that and there is the completely horizontal pulling of the bowstring to the shoulder to protect the borders of the country.
He invites the King and the charioteer because the charioteer is the lift-driver for going up the vertical axis.
"Putra pinda palana" - protecting the lump of matter that will develop in the womb into a child: so this is a reflection of what will happen in the ashram.
They will fly up in a spiral to the top of a dome where the two birds are praising the vertical axis.
In another verse, the eyes and ears of Shakuntala also have this parity;
WHEN A MAN IN LOVE SEES A WOMAN, WHAT HE REALLY SEES IS HIS OWN SELF.
"KAMI SWATAM PASYATI" - A MAN IN LOVE HIS OWN SELF SEES
Two voices at the bottom - two birds at the top.
At the Omega point, there is just light;
a little lower and there is Indra's thunderbolt; below that and there is the completely horizontal pulling of the bowstring to the shoulder to protect the borders of the country.
He invites the King and the charioteer because the charioteer is the lift-driver for going up the vertical axis.
"Putra pinda palana" - protecting the lump of matter that will develop in the womb into a child: so this is a reflection of what will happen in the ashram.
.
.
slc8-p69a
"Putra pinda palana"
Solves a problem schematically.
A paradox is resolved here.
The King says what to do - the Vidusaka says to stay suspended between them.
There are two rival duties to be performed.
The King tells the Vidusaka to go, as he has been treated as a son.
Thus the mother is given the status of the queen, who is kind even to a servant.
Solves a problem schematically.
A paradox is resolved here.
The King says what to do - the Vidusaka says to stay suspended between them.
There are two rival duties to be performed.
The King tells the Vidusaka to go, as he has been treated as a son.
Thus the mother is given the status of the queen, who is kind even to a servant.
.
.
slc8-p69b.
20
The Vidusaka is not really afraid of demons - these are negative demons - not sent from heaven.
This refers to some kind of reciprocity between son and servant,
between Shakuntala and the demons: "we are doing the same thing"
There are stages in abolishing a paradox, only at the fourth stage do you abolish it
- but a proper methodology is needed to get there.
The King: "do not think am serious about loving Shakuntala".
So, there are three worlds of rivalry between them.
This refers to some kind of reciprocity between son and servant,
between Shakuntala and the demons: "we are doing the same thing"
There are stages in abolishing a paradox, only at the fourth stage do you abolish it
- but a proper methodology is needed to get there.
The King: "do not think am serious about loving Shakuntala".
So, there are three worlds of rivalry between them.
.
.
slc8-p70
.
King and Vidusaka are both sons, this is a paradox
Shakuntala or mother? The King says both.
The third world is the world of absurdity and jokes.
Shakuntala or mother? The King says both.
The third world is the world of absurdity and jokes.
End of Act II: the King tries to neutralise the whole situation.
Where are we? - On the numerator side - "where are those who live with fawns, strangers to love?"
"Parocha mantritta" - means Kama (Eros) goes to the conceptual side.
Where are we? - On the numerator side - "where are those who live with fawns, strangers to love?"
"Parocha mantritta" - means Kama (Eros) goes to the conceptual side.
Paradox - the King cancels at the third dimension by a joke.
This is not a complete fourth-dimensional cancellation.
Fourth dimensional - hence the ceremony will be held in the fourth dimension.
Trisanka was pushed up by his guru, Visvamitra, but pushed down by Indra, again and again.
Finally Indra created a third world between heaven and earth:
then he compromised and admitted him to heaven, no third platform.
Two are good, but not three.
Thus he is sometimes suspended in a third world - no game, absurd.
This is not a complete fourth-dimensional cancellation.
Fourth dimensional - hence the ceremony will be held in the fourth dimension.
Trisanka was pushed up by his guru, Visvamitra, but pushed down by Indra, again and again.
Finally Indra created a third world between heaven and earth:
then he compromised and admitted him to heaven, no third platform.
Two are good, but not three.
Thus he is sometimes suspended in a third world - no game, absurd.
No sitting on the football - there is no stable third platform.
ACT III
Enter disciple of the chief hotri. (sacrificial priest)
Draw a circle and mark the centre: this is a Vedic circle inside the Jaina circle.
Now we are nearer to the inner altar.
These are the concentric circles of the Sri Chakra.
Vedism is going to be revised in the light of Vedanta.
Note here that the King has the power of driving away poltergeists.
Spirits thrive on negativity and loneliness, they need a world in which negativity can thrive.
Vedism runs contrary to this: bathing, a clean altar, ashes, etc.
Enter disciple of the chief hotri. (sacrificial priest)
Draw a circle and mark the centre: this is a Vedic circle inside the Jaina circle.
Now we are nearer to the inner altar.
These are the concentric circles of the Sri Chakra.
Vedism is going to be revised in the light of Vedanta.
Note here that the King has the power of driving away poltergeists.
Spirits thrive on negativity and loneliness, they need a world in which negativity can thrive.
Vedism runs contrary to this: bathing, a clean altar, ashes, etc.
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21
Prelude - he is mixing three circles:
A Vedic circle
Kanva's circle
Shakuntala's circle.
A Vedic circle
Kanva's circle
Shakuntala's circle.
Kusa grass is something that pricks and is to be scattered around the Vedic altar.
Shakuntala is suffering from exposure to the sun of Dusyanta - the girls soothe her with lotus leaves and ointment (hypostatic) to be sent through Gautami.
Gautami is the intermediary between Shakuntala and the boys.
Veda - numerator water and Ayurveda - denominator oils combine to cure her.
The lotus leaf is the surface of the skin;
The stalk is the nervous system.
Looking at the King was a sudden glare, which she could not take.
As in the Greek myth, where Artemis bathing must not be looked at, or the hunter will die.
Pathological disease has its origin in friendship or passion,
It affects the whole body (and personality): there are two cures:
sprinkle holy water, give consolation to the body - lotus leaves and unguents for the nervous system and for the surface of the body.
Shakuntala is suffering from exposure to the sun of Dusyanta - the girls soothe her with lotus leaves and ointment (hypostatic) to be sent through Gautami.
Gautami is the intermediary between Shakuntala and the boys.
Veda - numerator water and Ayurveda - denominator oils combine to cure her.
The lotus leaf is the surface of the skin;
The stalk is the nervous system.
Looking at the King was a sudden glare, which she could not take.
As in the Greek myth, where Artemis bathing must not be looked at, or the hunter will die.
Pathological disease has its origin in friendship or passion,
It affects the whole body (and personality): there are two cures:
sprinkle holy water, give consolation to the body - lotus leaves and unguents for the nervous system and for the surface of the body.
This is the treatment outlined here.
The King banishes demons - his presence abolishes negativity in the Ashram.
Similarly, an ayurvedic doctor is supposed to wear many jewels when he visits the sick.
Anasuya and Priyamvada
- Priyamvada has the ointments,
- Anasuya gets the water and delivers it through Gautami.
You can heal the emotions with Mantras and the body with medicines.
Similarly, an ayurvedic doctor is supposed to wear many jewels when he visits the sick.
Anasuya and Priyamvada
- Priyamvada has the ointments,
- Anasuya gets the water and delivers it through Gautami.
You can heal the emotions with Mantras and the body with medicines.
Enter the King: "water on a slope"
You cannot go against the laws of nature, or gravitation.
In the world of necessity, obey the laws of nature.
He knows that Tapasvis (those who practice renunciation or tapas) have powers by representing Truth.
The power of penance: is called Ajña Shakti
Moonbeams and arrows: the moon is enjoyable, but not when one is affected by love.
"Flower arrows are like fire arrows to me".
"Cool moonbeams are like fire to me, increasing my passion."
Submarine fire: volcanic eruptions at the bottom of the sea.
You were burned on the numerator side - I am burned by the fire at the Alpha point.
There is a great fire at the Alpha Point as well as at the Omega Point.
You cannot go against the laws of nature, or gravitation.
In the world of necessity, obey the laws of nature.
He knows that Tapasvis (those who practice renunciation or tapas) have powers by representing Truth.
The power of penance: is called Ajña Shakti
Moonbeams and arrows: the moon is enjoyable, but not when one is affected by love.
"Flower arrows are like fire arrows to me".
"Cool moonbeams are like fire to me, increasing my passion."
Submarine fire: volcanic eruptions at the bottom of the sea.
You were burned on the numerator side - I am burned by the fire at the Alpha point.
There is a great fire at the Alpha Point as well as at the Omega Point.
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slc8-p71a.
Eros was burned when he emerged at the O point, but the King was burned when descending.
The light of double negation gives light to the sun and other luminaries.
The light of double negation gives light to the sun and other luminaries.
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slc8-p71b
22
Volcanic fire is nearer to the Absolute than the light of the sun.
It is deeper - a light of lights.
The sun is superficial light.
Is there an explanation for this without the structure?
Otherwise, without the structure, you just explain one story with another, one Purana (legend) with another.
"Strikes me because of her.." - he is afflicted by negative fire.
He says his suffering will be a delight if he is put in the vertical axis.
It is deeper - a light of lights.
The sun is superficial light.
Is there an explanation for this without the structure?
Otherwise, without the structure, you just explain one story with another, one Purana (legend) with another.
"Strikes me because of her.." - he is afflicted by negative fire.
He says his suffering will be a delight if he is put in the vertical axis.
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slc4-p21-v50
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The banner is on the plus side.
His soul will be reflected in her eyes.
So, double negation.
If he can fall into the vertical axis, then the suffering will be doubly negated.
(God wanted me to have a first class degree next time, that's why I failed)
The King will see the banner and Shakuntala on the positive side.
Suffering from fire is the first negation, striking is the second.
Then from the O point he can see the numerator banner and by double assertion reach the Omega point.
"If Shakuntala's eyes in the vertical axis are what I gravitate towards, then I will fall into the vertical axis and be saved."
He must fall in the vertical axis - it does not matter where.
Whether by double negation or assertion, the King will reach salvation.
Shakuntala's eyes are still within human life and values.
If the King wants to, by double assertion he can go beyond and out of the circle.
Double negation just puts him on the plus side -
double assertion can then operate to take him to the Omega Point.
His soul will be reflected in her eyes.
So, double negation.
If he can fall into the vertical axis, then the suffering will be doubly negated.
(God wanted me to have a first class degree next time, that's why I failed)
The King will see the banner and Shakuntala on the positive side.
Suffering from fire is the first negation, striking is the second.
Then from the O point he can see the numerator banner and by double assertion reach the Omega point.
"If Shakuntala's eyes in the vertical axis are what I gravitate towards, then I will fall into the vertical axis and be saved."
He must fall in the vertical axis - it does not matter where.
Whether by double negation or assertion, the King will reach salvation.
Shakuntala's eyes are still within human life and values.
If the King wants to, by double assertion he can go beyond and out of the circle.
Double negation just puts him on the plus side -
double assertion can then operate to take him to the Omega Point.
(referring back to Act I)
There is a previous verse referring to the eyes of deer and to two kinds of celibacy.
Here, where Shakuntala's eyes are the attraction, the King will attain a kind of salvation or verticality.
The previous verse refers to her living like the deer, or else marrying.
The two alternatives are not different, but hang together; the same situation exists here.
There is a previous verse referring to the eyes of deer and to two kinds of celibacy.
Here, where Shakuntala's eyes are the attraction, the King will attain a kind of salvation or verticality.
The previous verse refers to her living like the deer, or else marrying.
The two alternatives are not different, but hang together; the same situation exists here.
"Vaikanasa vrta" - a monastic vow.
"Is she completely celibate, or is she to have the eroticism natural to the deer?"
If he knew this, then the King would know how to behave.
"Is she completely celibate, or is she to have the eroticism natural to the deer?"
If he knew this, then the King would know how to behave.
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slc8-p72b.
There is no duality between the male and female deer.
The alternatives are between ordinary marriage and the life of a deer.
Judged by the eyes of a deer, there is no sexual dimorphism:
They continue without abrupt duality in their sex-life.
The lifelong vow is not to be confused with strict Jaina austerities.
He wants to say that there is an Advaitic, vertical, sex-life within the Ashram,
as opposed to Buddhistic or Jaina austerities.
There is abrupt, dualistic Brahmacharya, or a natural, vertical Brahmacharya.
Finally, even Shiva is to have at least one baby, according to Kalidasa.
The alternatives are between ordinary marriage and the life of a deer.
Judged by the eyes of a deer, there is no sexual dimorphism:
They continue without abrupt duality in their sex-life.
The lifelong vow is not to be confused with strict Jaina austerities.
He wants to say that there is an Advaitic, vertical, sex-life within the Ashram,
as opposed to Buddhistic or Jaina austerities.
There is abrupt, dualistic Brahmacharya, or a natural, vertical Brahmacharya.
Finally, even Shiva is to have at least one baby, according to Kalidasa.
Note that this verse is not translated properly: "Like the deer...WITH their friends" should be the correct translation,
not "with her friends, the female deer", as the Pundits say.
not "with her friends, the female deer", as the Pundits say.
Both kinds are here recommended for Shakuntala, because she is an Absolutist.
The life of a deer and of a woman who wants a child can be put together:
both axes will cancel out and I will be saved.
The child will be there and the vertical axis will also prevail.
So, the combination is what is recommended by Kalidasa for the kind of girl that Shakuntala is.
The life of a deer and of a woman who wants a child can be put together:
both axes will cancel out and I will be saved.
The child will be there and the vertical axis will also prevail.
So, the combination is what is recommended by Kalidasa for the kind of girl that Shakuntala is.
There are two alternatives - one vertical and one horizontal -
Kalidasa says: do both; this is the normalised Absolute: combine and cancel out austerity and eroticism.
Kalidasa says: do both; this is the normalised Absolute: combine and cancel out austerity and eroticism.
Return to Act II and the double negation: the King's speech.
If you are caught in negation, double negate it and come to the plus side,
finding there your natural level, so as not to be burned by the sun.
So there is an inner and an outer heat, the outer having a more... (?)
The fire is the propeller and Shakuntala's eyes are the steering wheel.
The eyes of the deer or of Shakuntala are here seen in the banner of Kama.
Long eyes mean a meditative state that unites the horizontal and the vertical.
If you are caught in negation, double negate it and come to the plus side,
finding there your natural level, so as not to be burned by the sun.
So there is an inner and an outer heat, the outer having a more... (?)
The fire is the propeller and Shakuntala's eyes are the steering wheel.
The eyes of the deer or of Shakuntala are here seen in the banner of Kama.
Long eyes mean a meditative state that unites the horizontal and the vertical.
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slc8-p73
"Burn me with the negative fire so that I can pass through the tube and come to the eyes of Shakuntala"
23
(King continuing after the banner of Eros.)
"Where indeed can I refresh my soul?" i.e. make it happy.
The King descended when he got out of the chariot - a kind of depression.
It is a kind of rebirth - a transition from the horizontal to the vertical.
"Permitted at the end of the ritual..." some Vedic rite is over,
pertaining to Karma Kanda (the domain of action) - he has transcended Karma and is passing on to Vedanta: going from the necessary to the contingent side.
"Where indeed can I refresh my soul?" i.e. make it happy.
The King descended when he got out of the chariot - a kind of depression.
It is a kind of rebirth - a transition from the horizontal to the vertical.
"Permitted at the end of the ritual..." some Vedic rite is over,
pertaining to Karma Kanda (the domain of action) - he has transcended Karma and is passing on to Vedanta: going from the necessary to the contingent side.
"Malini" is a tributary of the Ganges.
"Sunlight" indicates a positive side where he will find Shakuntala in the shade of a creeper near the Malini.
Karma Kanda (the domain of action) is over and Jñana Kanda (the domain of wisdom) begins.
"Gesticulating touch" the most ontological aspect of what you see objectively - the first.
He will build up the senses from here, from ontology to teleology.
He will put the senses in the schema.
"Embrace the breeze" to cool the incubatory heat of the body.
Malini can be translated as "skin" (word play)
Wind plays on the perspiration on the skin.
So there is the beginning of pleasure on the objective side.
"She must be here..." - this is guesswork - This is Anumana (argument by inference - see the Pramanas).
There is a circle of reeds around a bower of creepers.
The heel sinks in deep to show the heaviness of the behind, the negative psyche of a woman.
Big in the behind is better to carry the baby.
This is structurally perfect for the soul.
A weighty behind gives the balance for the horizontal axis.
"Circle of reeds" - she is lovesick in a world of her own,
encircled and circumscribed.
This shows a degree of subjectivity.
There is a one-to-one correspondence between her circle and a circle around his feelings.
"My eyes are fully gratified...": there is nothing partial in the Absolute:
"my eyes have completed their purpose": a perfectly vertical reaction.
The eyes are not wasted; there is a one-to-one correspondence and cancellation - the second in the series.
Enter Shakuntala - they are not going or coming, just abolishing the distance between them - Bergson's reciprocity is present here.
Vertically, the distance tends to be abolished.
One coming to the other is horizontal and vulgar.
The stone slab is a pedestal or an ontological limit.
Her friends are fanning her - she is in a swoon
- consciousness is at the square root of minus one.
Her senses are not functioning, she is swooning from a negative state of consciousness
24
The King's description of Shakuntala - the swoon at the square root of minus one is more beautiful than that of sunlight.
They are in the same circle and Shakuntala is at the bottom of the vertical axis.
There is salve on her breast and a lotus-stalk bracelet on her wrist.
Her breasts are swelling, a sign of horizontalization, so salve is applied.
Her fatigue is equal to that of a lotus in summer, faded, fatigued and tender: completely fatigued.
The hand corresponds to action, the breast to feeling.
They are in the same circle and Shakuntala is at the bottom of the vertical axis.
There is salve on her breast and a lotus-stalk bracelet on her wrist.
Her breasts are swelling, a sign of horizontalization, so salve is applied.
Her fatigue is equal to that of a lotus in summer, faded, fatigued and tender: completely fatigued.
The hand corresponds to action, the breast to feeling.
Not all women can go beyond the square root of minus one;
Shakuntala is thus shown to be infra-human, representing absolute negativity.
The hand is a lotus-flower and the wrist is a stalk: belonging to the vegetable world.
There is a complete equation between Shakuntala and the lotus.
"Is her malady due to the King?" - Kalidasa wants to teach a lesson, not to tell a story.
The sage-king's (Raja Rishi's) influence from the plus side means that Shakuntala has to sink correspondingly on the negative side.
Shakuntala is thus shown to be infra-human, representing absolute negativity.
The hand is a lotus-flower and the wrist is a stalk: belonging to the vegetable world.
There is a complete equation between Shakuntala and the lotus.
"Is her malady due to the King?" - Kalidasa wants to teach a lesson, not to tell a story.
The sage-king's (Raja Rishi's) influence from the plus side means that Shakuntala has to sink correspondingly on the negative side.
These girls are conventional and do not appreciate the depth of all this.
The upper half rises to give torsion to the body, like Michelangelo's Adam.
This is a most difficult kind of painting.
Anasuya and Priyamvada interrogate Shakuntala - they are conventional women,
Shakuntala is absolute - understand her and you can have salvation.
The two girls delineate the conventional human limit.
Shakuntala is beyond this limit at the square root of minus-one...inside and inside and inside...
There is a negative spark of life in a woman.
"Shakuntala cannot disclose... "- there is a negative part that she cannot disclose, a lonely part of a woman that no one can share: the flight of the alone to the alone, extending beyond the human.
Kalidasa describes the fading Shakuntala -
there is a tragic touch in this description, it is not just romantic.
It is beautiful vertically and deplorable horizontally.
The thinner the crescent, the more beautiful it is.
The King's "new fear" this is at close quarters - his fate is to be decided
- he is like a man waiting for a job in the minister's anteroom.
The nearer the ghost, the greater the fear.
"My love for him has reduced me to this plight" - there is no flourish, he just states the case.
This is the best poetry - straightforward - a beauty in itself with maximum effect.
The best writers do not indulge in any flourishes.
25
King: "I have heard what is worth hearing..." the response is also straightforward: there are no tricks.
The heat of noon causes clouds, and the clouds relieve the heat.
This is a supreme example of double negation.
Shakuntala asks for the King. The girls are in charge of convention,
but they say there is no immorality here; there is no immorality in the Absolute.
The categorical imperative is the motive; every detail is explained.
This is Kalidasa's point: human conventions are here effaced.
The heat of noon causes clouds, and the clouds relieve the heat.
This is a supreme example of double negation.
Shakuntala asks for the King. The girls are in charge of convention,
but they say there is no immorality here; there is no immorality in the Absolute.
The categorical imperative is the motive; every detail is explained.
This is Kalidasa's point: human conventions are here effaced.
The mango supports the atimukta creeper: ordinary horizontality, perfect compatibility.
The river runs into the sea: vertical cancellability.
The river runs into the sea: vertical cancellability.
So there are two kinds of compatibility: the creeper is weak and needs the support of a husband in the form of a mango tree - this is horizontal and conventional.
Then there is a tradition of the family that has to be maintained when choosing a husband for a girl.
Then there is a tradition of the family that has to be maintained when choosing a husband for a girl.
Priyamvada and Anasuya represent two grades of conventionality -
this is the classic standard in Sanskrit drama.
this is the classic standard in Sanskrit drama.
King: "what wonder two Visaka stars follow the crescent moon?"
"Secretly and quickly...", "quickly, I can handle; secretly is another thing, as the matter is already public".
There is nothing more that the companions have to arrange the fruit is ripe on the tree, everything is ready.
"Secretly and quickly...", "quickly, I can handle; secretly is another thing, as the matter is already public".
There is nothing more that the companions have to arrange the fruit is ripe on the tree, everything is ready.
The King's gold bracelet: the scar represents the horizontal duty of the King.
Vertically the ontological diamond and the tear fit together.
There is a four-fold structure here: tears from the corner of his eye wet the diamonds of the bracelet, vertically.
The hard bracelet is constantly being pushed backwards - he is getting thinner - but does not touch the scars left by the bowstring which is horizontal, representing his duty.
"The bracelet used to touch the shoulder scar, reminding me of the horizontal world"
When he was fatter, the bracelet was tight, now that he is thinner, it is loose: vertical suffering has replaced horizontal suffering - he is as pitiable as Shakuntala, who has fallen down.
Vertically the ontological diamond and the tear fit together.
There is a four-fold structure here: tears from the corner of his eye wet the diamonds of the bracelet, vertically.
The hard bracelet is constantly being pushed backwards - he is getting thinner - but does not touch the scars left by the bowstring which is horizontal, representing his duty.
"The bracelet used to touch the shoulder scar, reminding me of the horizontal world"
When he was fatter, the bracelet was tight, now that he is thinner, it is loose: vertical suffering has replaced horizontal suffering - he is as pitiable as Shakuntala, who has fallen down.
26
Kalidasa goes to great trouble to show that Shakuntala and the King suffer equally: he won't have it one-sided.
Also, this match needs no "campaigners" or arrangers,
because there is a perfect equality of absolute love between them.
The tear dropping to the diamond is the vertical axis, with suffering inside.
There are two pains and two movements: you have to put them together somehow.
The King hunts during the day to protect the ashram from evil elementals:
he is also capable of the deepest sentiments of love in the Absolute sense
- he combines the horizontal and the vertical.
Also, this match needs no "campaigners" or arrangers,
because there is a perfect equality of absolute love between them.
The tear dropping to the diamond is the vertical axis, with suffering inside.
There are two pains and two movements: you have to put them together somehow.
The King hunts during the day to protect the ashram from evil elementals:
he is also capable of the deepest sentiments of love in the Absolute sense
- he combines the horizontal and the vertical.
"But could fortune, seeking, fail to find?":
this means, go from the effect to the cause, from the contingent to the necessary.
There can be only one cause for a certain effect, though many effects are possible from one cause.
"The seeker of fortune may fail, but the fortune seeking a seeker could not fail to find him"
Shakuntala is diffident about writing a love poem to the king: she agrees to write the poem, as there is a savoir- necessary in a woman procuring her mate.
this means, go from the effect to the cause, from the contingent to the necessary.
There can be only one cause for a certain effect, though many effects are possible from one cause.
"The seeker of fortune may fail, but the fortune seeking a seeker could not fail to find him"
Shakuntala is diffident about writing a love poem to the king: she agrees to write the poem, as there is a savoir- necessary in a woman procuring her mate.
Anasuya and Priyamveda both approve of the plan from the conventional side, then Shakuntala only has to give her consent from the vertical.
"Allusion to yourself...": do not begin with theory, begin with yourself:
"I have been in love..." (cogito ergo sum).
Begin with the real - this is Vedantic methodology.
The letter is to be hidden in flowers offered to the deity:
The letter is conceptual. Any conventional "lie" she might tell would be cancelled against the requirements of the ritual.
The ritual cancels out conventional poetry - the ritual is conventional
Moonlight is good for the love-afflicted body: expose it to the full moon to cancel out the incubatory heat inside: the double assertion of the moon cancels out the double negation of the heat.
"Do not now cover the body with a cloth...":
i.e. we are suggesting something natural, accept it.
The letter is conceptual. Any conventional "lie" she might tell would be cancelled against the requirements of the ritual.
The ritual cancels out conventional poetry - the ritual is conventional
Moonlight is good for the love-afflicted body: expose it to the full moon to cancel out the incubatory heat inside: the double assertion of the moon cancels out the double negation of the heat.
"Do not now cover the body with a cloth...":
i.e. we are suggesting something natural, accept it.
27
(Back to the King's bracelet)
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slc8-p78a
Put the two, daytime and night, together.
The King is an absolutist at both times.
The King trains himself to shoot the deer
Here we have absolute speed, absolute verticality and absolute difficulty.
"I am cancelling: a hunter against the deer; but now I am becoming thin for the deer-eyed one, I am verticalized"
The bracelet does not touch the scar; this means that there is no contradiction.
He is an absolutist hunter and an absolutist lover.
Here, he says, do not talk about the horizontal, I am suffering vertically.
Back to the crescent moon and stars.
Here we have absolute speed, absolute verticality and absolute difficulty.
"I am cancelling: a hunter against the deer; but now I am becoming thin for the deer-eyed one, I am verticalized"
The bracelet does not touch the scar; this means that there is no contradiction.
He is an absolutist hunter and an absolutist lover.
Here, he says, do not talk about the horizontal, I am suffering vertically.
Back to the crescent moon and stars.
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slc8-p78b
Astronomically: two stars abolish the duality between them with reference to the brighter moon.
The souls of all of them will be merged and ascend into heaven.
The souls of all of them will be merged and ascend into heaven.
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slc8-p78c
Anasuya and Priyamvada put it in denominator language - a creeper on a mango tree.
The King puts it in numerator language - two stars follow the moon.
The fates of Anasuya and Priyamvada are inextricably entwined with the final salvation of Shakuntala; the King comments on this.
The King puts it in numerator language - two stars follow the moon.
The fates of Anasuya and Priyamvada are inextricably entwined with the final salvation of Shakuntala; the King comments on this.
(returning to our place)
Shakuntala sits up smiling: women can change quickly in the vertical axis of the Kundalini:
"You have given me hope, support on both sides: how shall I begin?"
"O, fickleness, thy name is woman "
Shakuntala sits up smiling: women can change quickly in the vertical axis of the Kundalini:
"You have given me hope, support on both sides: how shall I begin?"
"O, fickleness, thy name is woman "
The King with eyes unwinking: "Her face reveals passion for me;
one eyebrow lifted and cheeks thrilling"
Cheeks: most superficial but positive state of the body.
The raising of one eyebrow makes a sinus curve, a figure eight, like holding the hair with one hand.
This is a horizontal figure eight, which is tilting slightly to the vertical.
The King is immobile and completely interested.
This is called Khecari: the numerator copulation has already taken place.
On the numerator side there must be a sex act as complete as possible.
A poetess straining for intellectual (positive) achievement.
Kalidasa will not bother to describe the denominator sex act.
Her smile shows that she has shifted from first to second gears: this is easy for a woman.
one eyebrow lifted and cheeks thrilling"
Cheeks: most superficial but positive state of the body.
The raising of one eyebrow makes a sinus curve, a figure eight, like holding the hair with one hand.
This is a horizontal figure eight, which is tilting slightly to the vertical.
The King is immobile and completely interested.
This is called Khecari: the numerator copulation has already taken place.
On the numerator side there must be a sex act as complete as possible.
A poetess straining for intellectual (positive) achievement.
Kalidasa will not bother to describe the denominator sex act.
Her smile shows that she has shifted from first to second gears: this is easy for a woman.
She writes on a lotus leaf: nothing artificial should intervene:
use a conducting material to pass from negative to positive.
use a conducting material to pass from negative to positive.
Shakuntala reads her poem: this is a challenge to all other poets.
She is speaking as an ontological philosopher only.
The King is on the numerator side, and is to be known only.
"Anyhow, I am suffering". Kama is described as "all-powerful",
Not as the "cruel one" - or is it the King?
She is speaking as an ontological philosopher only.
The King is on the numerator side, and is to be known only.
"Anyhow, I am suffering". Kama is described as "all-powerful",
Not as the "cruel one" - or is it the King?
Enter King: "love only torments you, but me he quite consumes, day causes the lotus to fade, but completely effaces the moon"
The King's description of Shakuntala on the couch - crushed lotus-stalks.
She is like a creeper that has fallen from the tree to the ground; he treats her limbs pluralistically.
Shakuntala: "why do you delay the King?"
- horizontally there is a gap between the King and his wives
- a horizontal sense of justice.
The vertical sense of justice is that she is a humble person, and he is a Raja Rishi (sage-king).
(looking back)
The King's bangle moves up and down the vertical axis - his arm.
It does not participate with the horizontal; the lust of people who do not have the vertical participating with the horizontal, they escape in a figure eight.
Shakuntala sits up and smiles and writes a poem;
Kalidasa is showing that one has alternate states of consciousness that come like electricity. A simple arched eyebrow is an attempt to verticalize.
The King tells Shakuntala not to rise: "you are almost my equal - in your own way, you are as great as I am, a complementary part of myself".
This one-one correspondence of complementary factors belonging together to the absolute is the essence of Vedanta.
The King's bangle moves up and down the vertical axis - his arm.
It does not participate with the horizontal; the lust of people who do not have the vertical participating with the horizontal, they escape in a figure eight.
Shakuntala sits up and smiles and writes a poem;
Kalidasa is showing that one has alternate states of consciousness that come like electricity. A simple arched eyebrow is an attempt to verticalize.
The King tells Shakuntala not to rise: "you are almost my equal - in your own way, you are as great as I am, a complementary part of myself".
This one-one correspondence of complementary factors belonging together to the absolute is the essence of Vedanta.
28
Only Kalidasa and Sankara say that it is no sin to sleep with your wife:
no other religion says this.
All the works of Kalidasa are aimed at just this one point;
verticalize it and there is nothing wrong - that a child is born is only incidental.
no other religion says this.
All the works of Kalidasa are aimed at just this one point;
verticalize it and there is nothing wrong - that a child is born is only incidental.
"Something superfluous": The King says that you had better say it, you had an intention to say it, and the first promptings of an excellent woman will generally be right.
First impressions are promptings of the soul - but you have to catch them clearly and promptly.
So Kalidasa enunciates a general law.
First impressions are promptings of the soul - but you have to catch them clearly and promptly.
So Kalidasa enunciates a general law.
Priyamvada: "love has smitten her on your account: you and Kama - both are on the numerator side, let her kick the ball".
The King says: "We are sailing in the same boat; passion is reciprocal"
- never say "darling " to your wife - "our suffering is reciprocal."
Then you can cancel it out. Find the centre of the situation.
Admit no duality, you will save trouble all your life.
This not only gives you freedom, but confers freedom on the other as well.
This cancellation is the secret of Advaita Vedanta.
Do not try to become sublime or ridiculous.
Here, at the most important point of the play, he says: "our passion is reciprocal" - finished.
Shakuntala: "Why detain the King from his other consorts - he has responsibilities"
There is a wonderful heroism here: she keeps the frame of reference
- when you lose the form of your thoughts that is called hysteria.
(Here the Guru votes for European women, especially German)
Who loves whom here? This is not a love story - it is cancelled love, glorified.
King: "I was once slain by a numerator Eros - the eye at the top, now I am slain by the eye below: I am a fully verticalized person - the other wives in my harem do not count. Do not push me to the horizontal."
Killing is a contradiction.
- never say "darling " to your wife - "our suffering is reciprocal."
Then you can cancel it out. Find the centre of the situation.
Admit no duality, you will save trouble all your life.
This not only gives you freedom, but confers freedom on the other as well.
This cancellation is the secret of Advaita Vedanta.
Do not try to become sublime or ridiculous.
Here, at the most important point of the play, he says: "our passion is reciprocal" - finished.
Shakuntala: "Why detain the King from his other consorts - he has responsibilities"
There is a wonderful heroism here: she keeps the frame of reference
- when you lose the form of your thoughts that is called hysteria.
(Here the Guru votes for European women, especially German)
Who loves whom here? This is not a love story - it is cancelled love, glorified.
King: "I was once slain by a numerator Eros - the eye at the top, now I am slain by the eye below: I am a fully verticalized person - the other wives in my harem do not count. Do not push me to the horizontal."
Killing is a contradiction.
29
King: there are two glories of his race: the sea-clad earth - a circle,
the horizontal world - and Shakuntala, as the vertical.
His wives are incidental and included in the horizontal world,
But Shakuntala is the vertical axis.
After showing Shakuntala's concern for the wives of the King,
And that of the King himself, they are put in a circle.
After Anasuya's concern for Shakuntala and her people,
The King says: "I shall tell you my whole interest in one verse: the sea-clad earth and this Shakuntala".
Do not worry about the small change, I am showing you the whole bold structure at one stroke.
the horizontal world - and Shakuntala, as the vertical.
His wives are incidental and included in the horizontal world,
But Shakuntala is the vertical axis.
After showing Shakuntala's concern for the wives of the King,
And that of the King himself, they are put in a circle.
After Anasuya's concern for Shakuntala and her people,
The King says: "I shall tell you my whole interest in one verse: the sea-clad earth and this Shakuntala".
Do not worry about the small change, I am showing you the whole bold structure at one stroke.
.
slc8-p81
When the King and Shakuntala come together, they make one absolute gold coin with two sides.
Here is the theory of ramified sets and sub-sets.
Here is the theory of ramified sets and sub-sets.
Anasuya and Priyamvada want to love: an antelope seeking its mother has the tender feeling of a woman concerned with the denominator side of bringing babies to their mothers.
Note the delicacy of the device - the fawn is turning towards its mother; again the eyes, but this time without fear.
Anyone else would have written. "Well, dear, we have business elsewhere"
Note the delicacy of the device - the fawn is turning towards its mother; again the eyes, but this time without fear.
Anyone else would have written. "Well, dear, we have business elsewhere"
"Let one of you come back, if you both go and take the horizontal support, then I shall fall down":
the flagpole needs a stay-wire to hold it firmly.
the flagpole needs a stay-wire to hold it firmly.
"The protector of the earth is with you": this is irony, but not sarcastic;
both of them fall into the vertical axis, no sin can arise here.
both of them fall into the vertical axis, no sin can arise here.
There are two ways of relieving pain: one is pressing the legs
(traditional in North India) - consoling from the negative side
- the other is a cool breeze from the numerator side.
The King will normally stop with the latter, but he will function on the denominator side.
This is so near the sex act that it will be of absorbing interest to the audience.
(traditional in North India) - consoling from the negative side
- the other is a cool breeze from the numerator side.
The King will normally stop with the latter, but he will function on the denominator side.
This is so near the sex act that it will be of absorbing interest to the audience.
30
Shakuntala will not offend those whom she is bound to respect:
there is no pretence, she is thinking of Kanva.
She absolves herself of the last charge, she is completely conscious of all of her responsibility - one does not make love to a guest in the absence of the head of the Ashram.
This respect of every aspect of the situation is a great lesson of Kalidasa.
The King forcibly draws her back: Sec 133 of the penal code, but a little forcing is in place in nature.
She can normally go vertically, it requires force for direct participation with the horizontal.
Thus Brigitte can be allowed to remain unmarried.
It is normal for the female to run away from the male, as is a certain amount of force.
She is leaving for three-dimensional reasons, but the King represents the fourth: he is right to use force.
Kalidasa is not wrong. (Cf. Narayana Guru and Nabi Mohammed)
"Restrain yourself." moral strength comes from the female side.
She is in love, but is not her own master.
The same thing occurs with Satyavati, yielding to Vyasa.
Gandharva marriage: an exception, no bad example is being set for human values, "we are both semi-divine".
This is vertical morality, the other is horizontal - cf. Bergson.
Christ will allow it, only the presbyters will object.
The question of sin does not arise in the Absolute, so how can we discuss it?
This is a vertical situation.
there is no pretence, she is thinking of Kanva.
She absolves herself of the last charge, she is completely conscious of all of her responsibility - one does not make love to a guest in the absence of the head of the Ashram.
This respect of every aspect of the situation is a great lesson of Kalidasa.
The King forcibly draws her back: Sec 133 of the penal code, but a little forcing is in place in nature.
She can normally go vertically, it requires force for direct participation with the horizontal.
Thus Brigitte can be allowed to remain unmarried.
It is normal for the female to run away from the male, as is a certain amount of force.
She is leaving for three-dimensional reasons, but the King represents the fourth: he is right to use force.
Kalidasa is not wrong. (Cf. Narayana Guru and Nabi Mohammed)
"Restrain yourself." moral strength comes from the female side.
She is in love, but is not her own master.
The same thing occurs with Satyavati, yielding to Vyasa.
Gandharva marriage: an exception, no bad example is being set for human values, "we are both semi-divine".
This is vertical morality, the other is horizontal - cf. Bergson.
Christ will allow it, only the presbyters will object.
The question of sin does not arise in the Absolute, so how can we discuss it?
This is a vertical situation.
She again wishes to take counsel with Anasuya and Priyamvada, very correctly.
The King will go once he has sipped her nectar:
it is the perfection of the analogy that keeps you from laughing here.
It is serious and sublime.
it is the perfection of the analogy that keeps you from laughing here.
It is serious and sublime.
Enter Gautami: the King hides himself, she sprinkles water on the head of Shakuntala.
There is the numerator consolation of the kiss and the denominator aspect is not to be acted out.
As she leaves, she bids farewell to the bower and the King: "Hoping once more to be happy under your shade".
There is the numerator consolation of the kiss and the denominator aspect is not to be acted out.
As she leaves, she bids farewell to the bower and the King: "Hoping once more to be happy under your shade".
31
Shakuntala is satisfied in the numerator sense or aspect.
She addresses her own heart:
she did not accept the King's approaches (numerator)
but now she does not want to leave (denominator).
So there are numerator and denominator satisfactions.
The heart is the O point.
The marriage has been made in heaven - she is satisfied.
But she wants to come back here for it to be enacted on earth - she is not yet satisfied.
She addresses her own heart:
she did not accept the King's approaches (numerator)
but now she does not want to leave (denominator).
So there are numerator and denominator satisfactions.
The heart is the O point.
The marriage has been made in heaven - she is satisfied.
But she wants to come back here for it to be enacted on earth - she is not yet satisfied.
.
.
slc8-p83a
The same heart and the same bower are there; only the feeling is different.
The King speaks of the lower lip: then he says he will remain in the bower, although deserted by her: then describes the bower - couch, letters, bracelet.
Then he is called away by the voice, to chase the flesh-eating demons.
The King speaks of the lower lip: then he says he will remain in the bower, although deserted by her: then describes the bower - couch, letters, bracelet.
Then he is called away by the voice, to chase the flesh-eating demons.
Movement here is from the Omega Point scene, just enacted, to the Alpha Point scene about to be enacted, as suggested by the demons.
The King and the deer are on the horizontal axis.
The King and Shakuntala are on the vertical axis.
The circle of reeds is vertical.
You have to put eyes everywhere.
The King and Shakuntala are on the vertical axis.
The circle of reeds is vertical.
You have to put eyes everywhere.
.
.
slc8-p83b
The reeds are only time verticalized. Sand and mud are needed for the reeds to grow.
"The handle of the mirror of the face"
- the face of Shakuntala cancels out with the face of the King.
Kalidasa is showing negative nature and its counterpart on the numerator side.
The conic section is now being described at the horizontal axis.
The King does not leave the bower, because it is vertical.
The King does not ever kiss.
"The handle of the mirror of the face"
- the face of Shakuntala cancels out with the face of the King.
Kalidasa is showing negative nature and its counterpart on the numerator side.
The conic section is now being described at the horizontal axis.
The King does not leave the bower, because it is vertical.
The King does not ever kiss.
.
.
slc8-p83c
32
slc8-p84
The King wants to remain in qualitative space.
The arrow here is the light on the King's diamond bracelet.
The King descends, Shakuntala ascends gently, and they participate at the level of the horizontal axis.
There are eyes everywhere.
Throbbing cheeks and raised eyebrows give a figure eight.
Eyelashes are the upper limit of the circle, lips cancel repeatedly.
He lifts repeatedly, like the Kundalini.
Words of denial: "please don't violate me!"
Stammering is a paradox; turned on one side it is a figure-eight, like the deer.
"Somehow raised" means a seat.
A physical thing - somehow or other it happened.
It has to face the light many times - "handle of the mirror of the face".
The arrow here is the light on the King's diamond bracelet.
The King descends, Shakuntala ascends gently, and they participate at the level of the horizontal axis.
There are eyes everywhere.
Throbbing cheeks and raised eyebrows give a figure eight.
Eyelashes are the upper limit of the circle, lips cancel repeatedly.
He lifts repeatedly, like the Kundalini.
Words of denial: "please don't violate me!"
Stammering is a paradox; turned on one side it is a figure-eight, like the deer.
"Somehow raised" means a seat.
A physical thing - somehow or other it happened.
It has to face the light many times - "handle of the mirror of the face".
The King remains: Shakuntala is there in principle, her non- existence is there.
Looking all around: recognising the circle -the vectorial space of the colour solid.
Looking all around: recognising the circle -the vectorial space of the colour solid.
"Repeatedly lifting" must refer to Kundalini Shakti:
Kalidasa must have been a yogi - a man of the highest culture.
Kalidasa must have been a yogi - a man of the highest culture.
33
Some secrets on sex from structuralism.
Gotra Skelana - women are mutually exclusive on the negative side:
do not ask ANY woman to excuse you for calling her by another's name.
Gotra Skelana - women are mutually exclusive on the negative side:
do not ask ANY woman to excuse you for calling her by another's name.
SITUATIONS WITH STRUCTURAL IMPLICATIONS:
1) PUSHING HUSBAND DOWN WELL (DANDIN)
2) KICKING SHIVA IN THE FOREHEAD (SANKARA)
3) CALLING WIFE BY ANOTHER´S NAME (DANDIN)
1) PUSHING HUSBAND DOWN WELL (DANDIN)
2) KICKING SHIVA IN THE FOREHEAD (SANKARA)
3) CALLING WIFE BY ANOTHER´S NAME (DANDIN)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
END OF COMMENTARY ON SHAKUNTALA
.
FILM GENERALITIES
BEFORE THE FILM COMMENCES, INSERT SUFFICIENT INFORMATION ABOUT THE FOLLOWING SUBJECTS:
1# How the Devi occupies the same space as the Absolute; the place of Magenta in the scheme.
#2 The status of the Hindu Gods:
a) Brahma, Vishnu, Mahesvara. Rudra, etc. (The three gods of creation, preservation and destruction, and Rudra, who is the god of storms, seen as a form of Shiva. ED))
a) Brahma, Vishnu, Mahesvara. Rudra, etc. (The three gods of creation, preservation and destruction, and Rudra, who is the god of storms, seen as a form of Shiva. ED))
b) The relationship between Saraswati, Lakshmi and Kali. (Saraswati - the positive Goddess of Learning and the Arts; Lakshmi - the Goddess of Prosperity - occupying a central and slightly horizontalized position; and Kali the negative goddess of destruction. ED)
c) Subrahmanya and Ganesha. (The two sons of Shiva and the Devi - Subrahmanya, the numerator War-God, and Ganesha - the denominator Elephant God of Learning. ED)
d) Kama and Rati Devi.(Eros and his wife, literally "desire". ED)
THE PLACE OF MAGENTA IN THE SCHEME.
#1 Magenta is an absolute colour; ultraviolet and infrared meet in it. Colour film technique proves that magenta can produce any other shade, tint or saturation by positive or negative filters. These filters presuppose a colour-solid with an Alpha and an Omega point from which, by omitting or adding certain elements, all colours required can be produced. This is a great discovery of modern times in optics. (see introduction to "An Integrated Science of the Absolute" on this website ED) Thus the basic or absolute colour, magenta, is obtained by neutralisation of plus and minus factors.
(ILLEGIBLE WORD)
It is thus reasonable to equate it with the Absolute principle of Beauty, or the Goddess of this work.
(ILLEGIBLE WORD)
It is thus reasonable to equate it with the Absolute principle of Beauty, or the Goddess of this work.
THE GODS AND THEIR INTER-RELATIONSHIPS
# 2 It is necessary to fit all of these into a structural context and also to indicate the dynamism involved.
Brahma, Vishnu or Shiva or any others belonging to the same order of divinities, such as Rudra, Sadashiva etc.
They have to be placed in the top half of the circle, divided by a horizontal line: but there is no harm in indicating that this top half could be absorbed into the bottom of the vertical axis, as when a Japanese fan, which is a horizontal semicircle when open, folds up into the vertical axis.
This dynamism must be demonstrated on the screen. These three gods have to be given their functions, and viewed both in their horizontalized and verticalized aspects
Brahma, Vishnu or Shiva or any others belonging to the same order of divinities, such as Rudra, Sadashiva etc.
They have to be placed in the top half of the circle, divided by a horizontal line: but there is no harm in indicating that this top half could be absorbed into the bottom of the vertical axis, as when a Japanese fan, which is a horizontal semicircle when open, folds up into the vertical axis.
This dynamism must be demonstrated on the screen. These three gods have to be given their functions, and viewed both in their horizontalized and verticalized aspects
THE GODDESSES
Sarasvati is at the top of the vertical axis,
Kali at the bottom,
Chamundi in the middle.
(see V89)
The Dasakumaracarita of Dandin describes the goddesses for ten nights.
Show how the goddesses change from one to the other. If you can purify the vertical negative, then you have Lakshmi, or else Saraswati on the positive side, in a calm aspect without horizontality.
Kali at the bottom,
Chamundi in the middle.
(see V89)
The Dasakumaracarita of Dandin describes the goddesses for ten nights.
Show how the goddesses change from one to the other. If you can purify the vertical negative, then you have Lakshmi, or else Saraswati on the positive side, in a calm aspect without horizontality.
P3
THE RELATIONSHIP BETWEEN SHIVA AND THE DEVI
#3 There are mutual complementarity, compensation, cancellability and reciprocity between Shiva and Shakti (the Devi). Explain this fully, while being careful never to minimise the importance of one or the other.
#3. Complementarity is most difficult.. You have to show magenta arising out of Shiva's ashes and the magenta spot on the Devi's forehead (So there is colour mixing here).
The possibilities of Technicolor, laser and holograph technologies have to be explored here.
The possibilities of Technicolor, laser and holograph technologies have to be explored here.
THE STRUCTURAL ELEMENT
#4 The Structure explained:
a. The Cartesian correlates, horizontal and vertical axis's in a graph.
b. Solid geometry and conics.
c. Crystal structures: lessons from flower structures, especially the lotus, examined schematically.
d. The status of other flowers and water lilies.
e. Some favourite trees used for structural purposes.
a. The Cartesian correlates, horizontal and vertical axis's in a graph.
b. Solid geometry and conics.
c. Crystal structures: lessons from flower structures, especially the lotus, examined schematically.
d. The status of other flowers and water lilies.
e. Some favourite trees used for structural purposes.
#4.
a. Show the vertical and horizontal axis, and how they are used everywhere: in hospitals, finance, etc.
b. Halley's comet comes and makes a parabola or hyperbola. There is a solid geometry found in the sky, cf. conics in astronomy.
There are double rainbows, with the colours reversed. Conics enter into cosmology.
c. There are different kinds of coloured quartz, gems, etc. to photograph.
Show the crystal structures with colours (in museums).
d. Lotuses and sunflowers and arrangements of logarithmic spirals, the golden proportion,
cf. Edna Kramer (what work? ED).
e. There are some flowers that close and some that open at night.
f. The Asoka, fig trees with aerial roots.
See the Gita on the fig tree with roots above and branches below.
There is a reference to an Asoka in V85 and V96: a tree or creeper is an extremely negative value.
a. Show the vertical and horizontal axis, and how they are used everywhere: in hospitals, finance, etc.
b. Halley's comet comes and makes a parabola or hyperbola. There is a solid geometry found in the sky, cf. conics in astronomy.
There are double rainbows, with the colours reversed. Conics enter into cosmology.
c. There are different kinds of coloured quartz, gems, etc. to photograph.
Show the crystal structures with colours (in museums).
d. Lotuses and sunflowers and arrangements of logarithmic spirals, the golden proportion,
cf. Edna Kramer (what work? ED).
e. There are some flowers that close and some that open at night.
f. The Asoka, fig trees with aerial roots.
See the Gita on the fig tree with roots above and branches below.
There is a reference to an Asoka in V85 and V96: a tree or creeper is an extremely negative value.
P4
THE DEVI'S BODY AS DESCRIBED IN THE SAUNDARYA LAHARI
#5 Woman's form examined through the rules of Indian iconography.
One should examine minutely:
a. The structural implications of the lower and upper half, divided by an imaginary tropic line.
b. The thin waist.
c. The navel, the navel-lake and the three folds at the waist.
d. Thighs and knees: their strength, suppleness and frailty implying reciprocity between elephant tusks and banana plants.
e. Horizontal and vertical versions of the breasts.
f. The four-fold structure of the mid-eyebrow region, the eyes, ears etc.; implying a vertical arrow.
g. The feet placed at the bottom, middle and top: further details to be supplied by actual verses, when more closely examined.
One should examine minutely:
a. The structural implications of the lower and upper half, divided by an imaginary tropic line.
b. The thin waist.
c. The navel, the navel-lake and the three folds at the waist.
d. Thighs and knees: their strength, suppleness and frailty implying reciprocity between elephant tusks and banana plants.
e. Horizontal and vertical versions of the breasts.
f. The four-fold structure of the mid-eyebrow region, the eyes, ears etc.; implying a vertical arrow.
g. The feet placed at the bottom, middle and top: further details to be supplied by actual verses, when more closely examined.
#5 This is a study in itself, note the hands, sinus functions,
Fourier functions, etc., as found in iconography.
Fourier functions, etc., as found in iconography.
P5
SHIVA AND THE DEVI
#6 Descending Shiva and ascending Goddess
- how they meet, how they interact:
a. Back-to-back eroticism versus belly-to-belly.
b. They do not touch each other, except for the chin; they always keep twelve inches apart.
(further implications in the verses themselves)
- how they meet, how they interact:
a. Back-to-back eroticism versus belly-to-belly.
b. They do not touch each other, except for the chin; they always keep twelve inches apart.
(further implications in the verses themselves)
THE CHAKRAS
#7 The origins of the six Chakras.
a. What they represent as a psychodynamic mechanism with synergisms and syndromes.
b. The hierarchy of Chakras: Sahasrara on the plus side and Muladhara on the negative side and one at the mid-point. (Further details in the verses)
a. What they represent as a psychodynamic mechanism with synergisms and syndromes.
b. The hierarchy of Chakras: Sahasrara on the plus side and Muladhara on the negative side and one at the mid-point. (Further details in the verses)
#7 A yogi sitting with the Chakras fixed in their positions, psycho-dynamically understood. The interplay of Sattva, Rajas and Tamas (the three modalities of nature).
STRUCTURALISM
#8 Geometry and Algebra must meet in structuralism.
a. Magenta is an abstract colour, with possible positive and negative filtration.
b. Laser techniques and three-dimensional space or the colour-solid as a mathematical entity.
a. Magenta is an abstract colour, with possible positive and negative filtration.
b. Laser techniques and three-dimensional space or the colour-solid as a mathematical entity.
#8 See the theory of Protolinguistics, see monograph by the Guru.
Pure mathematics can contain both algebra and geometry, as complementary vertical counterparts: see the two proofs of Pythagoras' theorem, one algebraic and metalinguistic, and the other geometric and protololinguistic.
Cf. post-Hilbertian mathematics and Galois.
Pure mathematics can contain both algebra and geometry, as complementary vertical counterparts: see the two proofs of Pythagoras' theorem, one algebraic and metalinguistic, and the other geometric and protololinguistic.
Cf. post-Hilbertian mathematics and Galois.
P6
STRUCTURALISM
#9 Figure-eight dynamism (see Bergson).
a. Explain the matrix and O-point.
b. Explain the "universal here and now" at the Alpha-point.
c. The "universal elsewhere" - timeless - is at the Omega-point.
d. Explain the Mandalas, do not omit them, they are four-cornered:
the Sri Chakra, Kaula and Samaya cults revalued.
a. Explain the matrix and O-point.
b. Explain the "universal here and now" at the Alpha-point.
c. The "universal elsewhere" - timeless - is at the Omega-point.
d. Explain the Mandalas, do not omit them, they are four-cornered:
the Sri Chakra, Kaula and Samaya cults revalued.
#9 See "Values" for structural hints on the Saundarya Lahari.
P7
STRUCTURALISM
#10 Parity, virtuality, right and left spins, the mutual exclusion of horizontal factors, impenetrability; the seed of troubles in this world - harshness; the problem of evil located at the horizontal of the spirit.
N.B. This could be divided in two or three parts and presented separately, so as not to bore the audience.
#10 See quantum mechanics and molecular structure: Diagrams to be found in Gent University, etc.
Bachelor and female particles.
Bachelor and female particles.
P8
P9
GANESHA AND SUBRAHMANIYA
Of the two sons of Shiva and the Devi, Subrahmanya is vertical and Ganesha is a purified version of the horizontal.
Ganesha is existence,
Subrahmanya the essence of God..
Finally, bring the horizontal negative and the vertical positive together and cancel them both out.
EROS AND HIS WIFE
Kama Deva (Eros) and Rati (his wife "desire").
Rati, being a woman, has no function really; she is just to be absorbed.
Kama, however, has a function, and no woman can live without him.
The difference between a Pre-Raphaelite Madonna and the Mona Lisa is that Kama Deva is present in the latter. Kama can still operate when Shiva is not present; show him jumping into the lake of the Devi´s navel; Rati cries and goes to the negative side of the vertical axis.
Rati, being a woman, has no function really; she is just to be absorbed.
Kama, however, has a function, and no woman can live without him.
The difference between a Pre-Raphaelite Madonna and the Mona Lisa is that Kama Deva is present in the latter. Kama can still operate when Shiva is not present; show him jumping into the lake of the Devi´s navel; Rati cries and goes to the negative side of the vertical axis.
P10
NOTES ON A WORLD GOVERNMENT STATEMENT
There should be freedom to seek happiness and to move about.
Good air, food, water and the opportunity to make a living wherever one likes.
Population control in a Malthusian sense is out; we need migration and redistribution.
Common diseases like malaria, etc., must be fought.
Abundance is not to be mixed with opulence; they must be balanced dialectically.
Sex-life and moral life are to be regulated by universal standards; courts of arbitration are to be set up.
A World Police should see disputes quickly settled.
No existing boundaries are to be abolished, there are likely to be boundaries, just as a dog will bark when you infringe on its territory.
Bring to bear a better understanding.
There must be World money.
The UN seems to presuppose that when made more perfect it will transform itself naturally and take over the functions of a world government.
(The objection to this argument is that it is unilateral and dualistic).
The arithmetical sum-total of existing value notions cannot produce what is called the integrated totality of a high personality capable of functioning as a world government because we know in mathematics that integration does not result from a mere addition of items; it is a quality added onto a quantitative situation existing below, as it were, from above. The perceptual and the conceptual approach, when cancelled out unitively, alone yield a government that can apply to the whole of humanity.
This is the secret of the approach of unitive understanding applicable to every department of life, which is stated to be the overall purpose of this conference.
Good air, food, water and the opportunity to make a living wherever one likes.
Population control in a Malthusian sense is out; we need migration and redistribution.
Common diseases like malaria, etc., must be fought.
Abundance is not to be mixed with opulence; they must be balanced dialectically.
Sex-life and moral life are to be regulated by universal standards; courts of arbitration are to be set up.
A World Police should see disputes quickly settled.
No existing boundaries are to be abolished, there are likely to be boundaries, just as a dog will bark when you infringe on its territory.
Bring to bear a better understanding.
There must be World money.
The UN seems to presuppose that when made more perfect it will transform itself naturally and take over the functions of a world government.
(The objection to this argument is that it is unilateral and dualistic).
The arithmetical sum-total of existing value notions cannot produce what is called the integrated totality of a high personality capable of functioning as a world government because we know in mathematics that integration does not result from a mere addition of items; it is a quality added onto a quantitative situation existing below, as it were, from above. The perceptual and the conceptual approach, when cancelled out unitively, alone yield a government that can apply to the whole of humanity.
This is the secret of the approach of unitive understanding applicable to every department of life, which is stated to be the overall purpose of this conference.
NOTES OF CONVERSATIONS WITH THE GURU
"DESCENDING SLEEP"
Waiting for the train to Cannanore in Tellicherry railway station.
Guru: "You are singing more than usual today; that is because it is the new moon: a kind of black pit which is too dark, you sing because you have the blues.
Curran: Yes, I have been losing sleep, with my head full of plans."
G: "But after two or three hours, you get a most pleasant sleep - a descending sleep, did you notice that?"
C: " I noticed that it was most pleasant, but not that it was descending."
G: " Most sleep comes from below - from the legs, and rests you up to here
(the chest, solar plexus). Descending sleep comes from above, it is most refreshing - numerator sleep. This is the first time I use this term "descending sleep" - it must be right, it clicks."
P11
POSSIBILITIES AND PROBABILITIES
On the train to Cannanore:
Guru: " Here is a sentence that might interest you: `The father survives the son, the son survives the father'. Which is possible and which is probable?"
C.: " The first is possible, the second is probable."
G: " Yes, but you should say why. I just got this today.
These two examples define possibilities and probabilities."
On the train to Cannanore:
Guru: " Here is a sentence that might interest you: `The father survives the son, the son survives the father'. Which is possible and which is probable?"
C.: " The first is possible, the second is probable."
G: " Yes, but you should say why. I just got this today.
These two examples define possibilities and probabilities."
PRAYER
All prayers, as a general rule, are answered.
If a twenty-five year old girl wants a husband, you can predict that the prayer will be answered.
Prayer and the thing prayed for meet each other.
They are reciprocally related. This is the same as question and answer.
" I will not become a maharaja because I did not pray for that"
Thus pray for the gold dollar (not the small change).
All prayers, as a general rule, are answered.
If a twenty-five year old girl wants a husband, you can predict that the prayer will be answered.
Prayer and the thing prayed for meet each other.
They are reciprocally related. This is the same as question and answer.
" I will not become a maharaja because I did not pray for that"
Thus pray for the gold dollar (not the small change).
P12
WORLD GOVERNMENT
The statement on World Government is a good idea, but the Guru will word it in such a way that there can be no catches.
1. World Government exists already.
2. The only action needed is to spread the effect, without local fixations
- a token action that does not admit to any action, etc.
It will be vertical and the horizontal will follow.
1. World Government exists already.
2. The only action needed is to spread the effect, without local fixations
- a token action that does not admit to any action, etc.
It will be vertical and the horizontal will follow.
P13
SOME GENERAL REVELATIONS AND OBSERVATIONS
Guru; The structure is finalised in my mind.
It is compressed like a ball in my hand.
It is the body of a woman. Particularly the breasts, navel or waist, and hips.
What about the head, limbs, etc.?
Those you can fit in by yourself. The breasts are most important.
They have to be round. They are the dome of the sky.
The two are also different from one another: they can be verticalized, like the sun and moon.
How do you explain God thundering on the one hand, and "turn the other cheek" on the other?"
God belongs to the vertical, the law for men is as it is because they belong to the horizontal, and society depends on co-operation- for its existence.
This is the greatest of discoveries.
Guru; The structure is finalised in my mind.
It is compressed like a ball in my hand.
It is the body of a woman. Particularly the breasts, navel or waist, and hips.
What about the head, limbs, etc.?
Those you can fit in by yourself. The breasts are most important.
They have to be round. They are the dome of the sky.
The two are also different from one another: they can be verticalized, like the sun and moon.
How do you explain God thundering on the one hand, and "turn the other cheek" on the other?"
God belongs to the vertical, the law for men is as it is because they belong to the horizontal, and society depends on co-operation- for its existence.
This is the greatest of discoveries.
P14
Yes, I understand that Christ sits on the right hand of God, but who sits on the left hand?
The Absolute is like a bucket with a hole in it being drawn from a well:
there are three positions: at the bottom, the bucket is full,
at the middle it is half-full, and at the top it is empty. (see Yoga Vasishta)
This is like the dynamic figure eight, constantly alternating.
(see also pushing the husband into the well in the "Dasakumaracarita" of Dandin)
The Absolute according to Narayana Guru is the reflection of the sky in the surface of the water in a bucket.
These are final structural secrets.
The girls left because they understood the meaning of pushing the husband into the well:(an episode in the Dasakumaracarita of Dandin. ED), that the Absolute is both something and nothing.
That was too much for them and they went away.
Note that the Guru refuses not to be affected by their departure,
but says that he has learned his final lesson about women: don't go near them.
He says he knew this proverbially, but not experimentally.
The two put together mean understanding. So many secrets these last days.
The Absolute is like a bucket with a hole in it being drawn from a well:
there are three positions: at the bottom, the bucket is full,
at the middle it is half-full, and at the top it is empty. (see Yoga Vasishta)
This is like the dynamic figure eight, constantly alternating.
(see also pushing the husband into the well in the "Dasakumaracarita" of Dandin)
The Absolute according to Narayana Guru is the reflection of the sky in the surface of the water in a bucket.
These are final structural secrets.
The girls left because they understood the meaning of pushing the husband into the well:(an episode in the Dasakumaracarita of Dandin. ED), that the Absolute is both something and nothing.
That was too much for them and they went away.
Note that the Guru refuses not to be affected by their departure,
but says that he has learned his final lesson about women: don't go near them.
He says he knew this proverbially, but not experimentally.
The two put together mean understanding. So many secrets these last days.
"You have a concrete, geometric mind; cancel it with a high axiomatic counterpart."
"If the proper study of mankind is man, the proper study of man is woman".
"The structure of woman reveals the structure of the negative aspect of man: his psyche. Add to this feminine structure the Numerator and you get the whole picture."
"If the proper study of mankind is man, the proper study of man is woman".
"The structure of woman reveals the structure of the negative aspect of man: his psyche. Add to this feminine structure the Numerator and you get the whole picture."
P15
SELECTIONS FROM " PARADISE LOST" IN ALAN WATTS.
"At one the four spread out their starry wings.."
These are the four cherubim described by Ezekiel, as in constant attendance upon God, with the heads of a bull, a lion, an eagle and a man, each with six wings.
These were later associated with the three evangelists, but also with the four "fixed" signs of the Zodiac - Taurus, Leo, Scorpio (after a Phoenix) and Aquarius.
(ED notes: see Zoroastrian origin)
"Under his burning wheels the steadfast empyrean shook throughout..."
This is the vertical axis - the light of heaven.
These are the four cherubim described by Ezekiel, as in constant attendance upon God, with the heads of a bull, a lion, an eagle and a man, each with six wings.
These were later associated with the three evangelists, but also with the four "fixed" signs of the Zodiac - Taurus, Leo, Scorpio (after a Phoenix) and Aquarius.
(ED notes: see Zoroastrian origin)
"Under his burning wheels the steadfast empyrean shook throughout..."
This is the vertical axis - the light of heaven.
"...pursued with terrors and with furies to the bounds and crystal wall of heaven, which, opening wide, rolled inwards and a spacious gap disclosed into the wasteful deep..."
VI.824-877
VI.824-877
This is the turning of the spiral - the changing of direction from one cone to the other.
"..yet from those flames no light, but rather darkness visible, served only to discover sights of woe..."
This is double darkness.
This is double darkness.
"For those rebellious, here their prison ordained
In utter darkness, and their portion set,
As far removed from God and light of heaven
As from the centre thrice to the utmost pole."
I. 44-74
In utter darkness, and their portion set,
As far removed from God and light of heaven
As from the centre thrice to the utmost pole."
I. 44-74
Three plus three = the six Chakras.
P16
" There is a cave within the Mount of God, fast by his throne,
Where Light and Darkness in perpetual round
Lodge and dislodge by turns, which makes through Heaven
Grateful vicissitude, like day and night;
Light issues forth, and at the other door
Obsequious darkness enters, till her hour
To veil the heaven, though darkness there might well
Seem twilight here"
VI. 4-12
Where Light and Darkness in perpetual round
Lodge and dislodge by turns, which makes through Heaven
Grateful vicissitude, like day and night;
Light issues forth, and at the other door
Obsequious darkness enters, till her hour
To veil the heaven, though darkness there might well
Seem twilight here"
VI. 4-12
Where is "here"? In any case, he is speaking of the neutralised vertical twilight that results when Sun and Moon are verticalized and cancelled.
FROM "THE TWO HANDS OF GOD" BY ALAN WATTS.
"Strange then, as it may seem, the devaluation of myth would require a reversal of the main direction of scientific thought at the present time"
P31
"I cannot resist the intuition that, in some quite unexpected way, the scientist is going to find himself coming back to the truth of the ancient Hindu aphorism, "Tat Tvam Asi" - "That thou art". For where could "The Mystery" be more cleverly hidden than right in the seeking and the seeker - nearer...than breathing, closer than hands and feet". If so, the basic mythology of the Hindu World - view may attain a new dignity; to some extent it has already done so" P32
P31
"I cannot resist the intuition that, in some quite unexpected way, the scientist is going to find himself coming back to the truth of the ancient Hindu aphorism, "Tat Tvam Asi" - "That thou art". For where could "The Mystery" be more cleverly hidden than right in the seeking and the seeker - nearer...than breathing, closer than hands and feet". If so, the basic mythology of the Hindu World - view may attain a new dignity; to some extent it has already done so" P32
"But I have tried to show that statements of fact and mythological images belong to quite different languages and that the logic of one does not apply to the logic of the other." P33
P17
THE EIGHT-FOLD STRUCTURE - ITS PARTS:
My question was: " Is Ashtatam (eight) arrived at by a quaternion on the Denominator and another on the Numerator?"
"No. The eight are derived in "The Epistemology of the Gnosis" from six plus two or seven plus one to make eight.
Then there is a quaternion in each of the eight Adharas or levels.
Then put eight of Subrahmaniam on the numerator and eight of Ganesha on the denominator; interpenetrate the two and you get the normalised Kali as in the "Kali Natakam" of Narayana Guru.
My question was: " Is Ashtatam (eight) arrived at by a quaternion on the Denominator and another on the Numerator?"
"No. The eight are derived in "The Epistemology of the Gnosis" from six plus two or seven plus one to make eight.
Then there is a quaternion in each of the eight Adharas or levels.
Then put eight of Subrahmaniam on the numerator and eight of Ganesha on the denominator; interpenetrate the two and you get the normalised Kali as in the "Kali Natakam" of Narayana Guru.
The terms assigned to their respective levels:
Ambivalence - the first level, the actual, Subrahmaniam and Ganesha are ambivalent.
Reciprocity - the second level; Saraswati and Lakshmi.
Complementarity - the third level, the Devi with callosities - she wants to establish the final cancellation with Shiva, here, she is his complementary counterpart.
Cancellation - the fourth level, the final operation - Shiva and Shakti united.
Parity - refers to the horizontal alone; bilateral symmetry.
Ambivalence - the first level, the actual, Subrahmaniam and Ganesha are ambivalent.
Reciprocity - the second level; Saraswati and Lakshmi.
Complementarity - the third level, the Devi with callosities - she wants to establish the final cancellation with Shiva, here, she is his complementary counterpart.
Cancellation - the fourth level, the final operation - Shiva and Shakti united.
Parity - refers to the horizontal alone; bilateral symmetry.
THE FOUR LIMBS OF THE QUATERNION.
1. THE ACTUAL CHAIR in which the actual man can sit; this chair will exclude another chair, and occupies a particular space.
2. THE VIRTUAL CHAIR, in which a virtual man can sit, much like a mirror reflection.
3. THE ALPHA-POINT CHAIR, the form of the chair generalised;
It excludes all other chairs.
This is the universal concrete version; it excludes horizontally but not vertically.
It excludes all other chairs.
This is the universal concrete version; it excludes horizontally but not vertically.
4. THE OMEGA POINT CHAIR: the word "chair" in the dictionary, purely conceptual.
P18
STRUCTURAL EXAMPLES FROM VARIOUS TEXTS
STRUCTURAL NOTES FROM THE NEW TESTAMENT APOCRYPHA
AS QUOTED IN "THE TWO HANDS OF GOD", BY ALAN WATTS.
From the apocryphal "Acts of Peter", a third century Greek text.
Peter has asked to be crucified upside down. When he is on the
cross, he says:
AS QUOTED IN "THE TWO HANDS OF GOD", BY ALAN WATTS.
From the apocryphal "Acts of Peter", a third century Greek text.
Peter has asked to be crucified upside down. When he is on the
cross, he says:
" Ye men unto whom it belongeth to hear, hearken
unto what I shall declare unto you at this especial time as I
hang here. Learn ye the mystery of all nature, and the beginning
of all things, what it was. For the first man, whose race I bear in
my own appearance (or "of the race of whom I bear the likeness")
fell (was born) head downward and showed forth a manner of
birth such as was not heretofore: for it was dead, having no
motion. He, then, being pulled down - who also cast his first state
down upon the earth - established this whole disposition of all
things, being hanged up an image of creation wherein he made the
things of the right hand into the left hand and the left hand
into the right hand, and changed about all the acts of their
nature, so that he thought those things that were not fair to be
fair, and those that were in truth evil, to be good. Concerning
which the Lord saith in a mystery " unless ye make the things of
the right hand as those of the left, and those of the left as
those of the right, and those that are above as those that are
below, and those that are behind as those that are before, ye shall
not have knowledge of the Kingdom."
"This thought, therefore, have I declared unto you, and the figure
wherein you now see me hanging is the representation of that man
that first came unto birth. Ye therefore, my beloved, and ye hear
me that shall hear, ought to cease from your former error and
return back again. For it is right to mount upon the cross of
Christ, who is the word stretched out, the one and only, of whom the
spirit saith: "For what else is Christ but the word, the sound of
God?" So that the Word is the upright beam whereon I am crucified
and the sound is that which crosseth it, the nature of man. And
the nail which holdeth the cross-tree onto the upright in the
midst thereof is the conversion and repentance of man..."
unto what I shall declare unto you at this especial time as I
hang here. Learn ye the mystery of all nature, and the beginning
of all things, what it was. For the first man, whose race I bear in
my own appearance (or "of the race of whom I bear the likeness")
fell (was born) head downward and showed forth a manner of
birth such as was not heretofore: for it was dead, having no
motion. He, then, being pulled down - who also cast his first state
down upon the earth - established this whole disposition of all
things, being hanged up an image of creation wherein he made the
things of the right hand into the left hand and the left hand
into the right hand, and changed about all the acts of their
nature, so that he thought those things that were not fair to be
fair, and those that were in truth evil, to be good. Concerning
which the Lord saith in a mystery " unless ye make the things of
the right hand as those of the left, and those of the left as
those of the right, and those that are above as those that are
below, and those that are behind as those that are before, ye shall
not have knowledge of the Kingdom."
"This thought, therefore, have I declared unto you, and the figure
wherein you now see me hanging is the representation of that man
that first came unto birth. Ye therefore, my beloved, and ye hear
me that shall hear, ought to cease from your former error and
return back again. For it is right to mount upon the cross of
Christ, who is the word stretched out, the one and only, of whom the
spirit saith: "For what else is Christ but the word, the sound of
God?" So that the Word is the upright beam whereon I am crucified
and the sound is that which crosseth it, the nature of man. And
the nail which holdeth the cross-tree onto the upright in the
midst thereof is the conversion and repentance of man..."
(M.R.James (trans.) "The Apocryphal New Testament" Oxon.
1924, pp.334-335 . " Acts of Peter" 37-ad fin. 89.
From Alan Watts " Two Hands of God". pp 189-190
1924, pp.334-335 . " Acts of Peter" 37-ad fin. 89.
From Alan Watts " Two Hands of God". pp 189-190
This is pure structuralism. Left into right etc. Means reciprocity, complementarity etc. The "Word" is vertical when it is placed with the "sound", then the sound becomes horizontal and perceptual, thus "the nature of man". The place where the nail is fixed represents the normative centre, and thus "conversion and repentance of man" means the state of neutrality in the Absolute, the communion of the Self with the Self, or of man with God.
FROM THE "ACTS OF JOHN"
THE VISION OF JOHN OF THE "CROSS OF LIGHT",
REVEALED TO ST. JOHN AT THE TIME OF THE CRUCIFIXION.
THE VISION OF JOHN OF THE "CROSS OF LIGHT",
REVEALED TO ST. JOHN AT THE TIME OF THE CRUCIFIXION.
" This cross of light is sometimes called the word by me (Jesus
is speaking) for your sakes, sometimes mind, sometimes Jesus,
sometimes Christ, sometimes door, sometimes a way, sometimes
bread, sometimes seed, sometimes resurrection, sometimes
son, sometimes father, sometimes spirit, sometimes life, sometimes
truth, sometimes faith, sometimes grace. And by these names it is
called as toward men: but that which it is in truth, as conceived
of in itself and as spoken of unto you, it is the marking off of
all things, and the firm uplifting of things fixed out of things
unstable, and the harmony of wisdom, and indeed, wisdom in harmony.
There are (the places) of the right hand and of the left, powers
also, authorities, lordships and demons, workings, threatenings,
wraths, devils, Satan and the lower root whence the nature of
things that come into being proceeded.
is speaking) for your sakes, sometimes mind, sometimes Jesus,
sometimes Christ, sometimes door, sometimes a way, sometimes
bread, sometimes seed, sometimes resurrection, sometimes
son, sometimes father, sometimes spirit, sometimes life, sometimes
truth, sometimes faith, sometimes grace. And by these names it is
called as toward men: but that which it is in truth, as conceived
of in itself and as spoken of unto you, it is the marking off of
all things, and the firm uplifting of things fixed out of things
unstable, and the harmony of wisdom, and indeed, wisdom in harmony.
There are (the places) of the right hand and of the left, powers
also, authorities, lordships and demons, workings, threatenings,
wraths, devils, Satan and the lower root whence the nature of
things that come into being proceeded.
P21
This cross, then, is that which fixed all things apart by the
word, and separated off the things that are above from those that
are below, and then also, being one, streamed forth into all things.
(Or: "compacted all into one.")"
From M.R.James (96), pp 254-255 "Acts of John" pp. 98-99, from
Watts' "The Two Hands of God" p.192
word, and separated off the things that are above from those that
are below, and then also, being one, streamed forth into all things.
(Or: "compacted all into one.")"
From M.R.James (96), pp 254-255 "Acts of John" pp. 98-99, from
Watts' "The Two Hands of God" p.192
MYSTICISM AND CANCELLATION
The Guru was asked what is the cancellation which results in the mystical feeling when reading the end of "Les Miserables":
"It is a cancellation of what you know about human nature from the Denominator with the idea of Jean Valjean's having passed through evil, etc on the Numerator."
Is there not a "fine adjustment" necessary to be constantly prepared for this experience?
" No, no adjustment. Get rid of adjustments. Say you want nothing in the three worlds. This is the negative way.
Speculation on the one hand and a certain strictness on the other.
Narayana Guru was taut like a platinum wire inside himself."
The Guru was asked what is the cancellation which results in the mystical feeling when reading the end of "Les Miserables":
"It is a cancellation of what you know about human nature from the Denominator with the idea of Jean Valjean's having passed through evil, etc on the Numerator."
Is there not a "fine adjustment" necessary to be constantly prepared for this experience?
" No, no adjustment. Get rid of adjustments. Say you want nothing in the three worlds. This is the negative way.
Speculation on the one hand and a certain strictness on the other.
Narayana Guru was taut like a platinum wire inside himself."
P22
"Do not try and get it all at once. It has to come by itself as a result of intense speculation - and might take you ten years...I do not know...it depends on your luck and intuition...I cannot tell you how lucky you are"
"Narayana Guru told me when I left for Europe `You will die in four months', this is a secret mystical language"
"Narayana Guru told me when I left for Europe `You will die in four months', this is a secret mystical language"
Yesterday the Guru was trying to get me to understand that Guru and Sishya (disciple) are interchangeable - the Guru is the Non-Self of the Sishya
- earlier: "You are the Alpha Point and I am the Omega point"
"It is a great discovery when you find out that hatred and kindness are the same"
- earlier: "You are the Alpha Point and I am the Omega point"
"It is a great discovery when you find out that hatred and kindness are the same"
THE DASAKUMARACARITA OF DANDIN
III. In sex, the woman must cry - there must be suffering on the one side and cruelty on the other. Otherwise it is just ordinary.
Break, then re-unite, this indicates a figure eight.
When the kisses become tender and the embraces light,
then the situation has reached the Numerator side.
Break, then re-unite, this indicates a figure eight.
When the kisses become tender and the embraces light,
then the situation has reached the Numerator side.
The body of the king is cloven lengthways and thrown into the fire;
otherwise, half of it would go up and the other half down and there would be no life.
The sun rises at the Omega point, the moon at the Alpha point.
Each has its rainbow. The two twilights press from either side.
Compress all together at the O point.
otherwise, half of it would go up and the other half down and there would be no life.
The sun rises at the Omega point, the moon at the Alpha point.
Each has its rainbow. The two twilights press from either side.
Compress all together at the O point.
P23
.CANCELLATION
.
.
KALIDASA'S RITUSAMHARA
The frog jumps from the muddy pond - the water itself is too hot.
The snake itself wants to drink but cannot.
There is reciprocity between them.
The snake forgets - desperation of the frog.
When this cancellation takes place, you get the Absolute.
There is absolute necessity on both sides.
The snake forgets the frog for one moment - this is the absolute moment of summer.
Enter into the mind of the snake - extreme thirst.
The frog wants to live: cancel them out.
The consciousness of the frog and the snake cancel out into the Absolute Value hiding in summer.
Even a hot day has equilibrium between plus and minus.
Think of the frog, the food of the snake, and a total predicament:
there is a moment in which everything is cancelled.
The passion of absolute suffering gives a central point of neutrality in the Absolute.
Tragedy is enjoyable.
Here, everything is so perfectly verticalized that all nature is meditating on the Absolute.
The frog jumps from the muddy pond - the water itself is too hot.
The snake itself wants to drink but cannot.
There is reciprocity between them.
The snake forgets - desperation of the frog.
When this cancellation takes place, you get the Absolute.
There is absolute necessity on both sides.
The snake forgets the frog for one moment - this is the absolute moment of summer.
Enter into the mind of the snake - extreme thirst.
The frog wants to live: cancel them out.
The consciousness of the frog and the snake cancel out into the Absolute Value hiding in summer.
Even a hot day has equilibrium between plus and minus.
Think of the frog, the food of the snake, and a total predicament:
there is a moment in which everything is cancelled.
The passion of absolute suffering gives a central point of neutrality in the Absolute.
Tragedy is enjoyable.
Here, everything is so perfectly verticalized that all nature is meditating on the Absolute.
P24
Elephants have trampled the muddy pool and destroyed the lotuses, the swans are gone, and the fish have died.
This is a tragedy - something we enjoy is there. There is not even a drop of water. The essence of tragedy will run through your spinal chord.
The beauty is in the fact that they trample the roots; this is the square root of minus one - it touches the Alpha Point.
The consciousness of man is found in the suffering elephants.
It is the rainy season: "may it grant nearly all your cherished desires".
Here only denominator blessings are given.
The final numerator touch is missing.
The steps are short here, thus, the "nearly".
The rainy season delights the women, the plus side is missing;
thus, "nearly" all your desires.
You can get all the benefits except the fourth floor (the fourth floor of an imaginary building - with food in the basement and philosophy on the uppermost fourth floor - ED).
The rainy season does not give that.
This is a tragedy - something we enjoy is there. There is not even a drop of water. The essence of tragedy will run through your spinal chord.
The beauty is in the fact that they trample the roots; this is the square root of minus one - it touches the Alpha Point.
The consciousness of man is found in the suffering elephants.
It is the rainy season: "may it grant nearly all your cherished desires".
Here only denominator blessings are given.
The final numerator touch is missing.
The steps are short here, thus, the "nearly".
The rainy season delights the women, the plus side is missing;
thus, "nearly" all your desires.
You can get all the benefits except the fourth floor (the fourth floor of an imaginary building - with food in the basement and philosophy on the uppermost fourth floor - ED).
The rainy season does not give that.
.
MORE OBSERVATIONS ON RITHUSAMHARA.
This work attempts to press together the numerator and denominator aspects of a certain psychophysical state.
Put a circle around it, when you cancel, you get the Absolute emerging.
There are six rithus or seasons: we get six Chakras
Put a circle around it, when you cancel, you get the Absolute emerging.
There are six rithus or seasons: we get six Chakras
three comic ones on the Numerator
and three tragic ones on the Denominator.
This leaves you with a certain feeling, which is mystical.
Without love there is no life: this poem uses eroticism to reveal certain features of the Absolute.
All of these verses are of value.
Think of a beautiful lotus-pond with swans swimming.
Then a herd of elephants comes and completely tramples the pond.
This is extreme negation or tragedy.
Mystical agony is the feeling involved.
The elephants are rubbing their skins together
- horizontal trouble.
They are trampling even the roots of the lotuses
- vertical trouble.
Kalidasa is saying in poetry what Bergson is saying with mathematics.
and three tragic ones on the Denominator.
This leaves you with a certain feeling, which is mystical.
Without love there is no life: this poem uses eroticism to reveal certain features of the Absolute.
All of these verses are of value.
Think of a beautiful lotus-pond with swans swimming.
Then a herd of elephants comes and completely tramples the pond.
This is extreme negation or tragedy.
Mystical agony is the feeling involved.
The elephants are rubbing their skins together
- horizontal trouble.
They are trampling even the roots of the lotuses
- vertical trouble.
Kalidasa is saying in poetry what Bergson is saying with mathematics.
P25
RITHUSAMHARA
" That warrior called spring is coming, o dear one,
With fully unfolded mango blossom tips for sharp arrow heads;
With rows of bees as the resplendent bowstring,
To pierce the hearts of those erotically disposed."
" That warrior called spring is coming, o dear one,
With fully unfolded mango blossom tips for sharp arrow heads;
With rows of bees as the resplendent bowstring,
To pierce the hearts of those erotically disposed."
.
The mango blossom is so tender, with red and magenta tender leaves and blossoms.
He is speaking of the shoot or point, which is a vertical axis within you:
it wants to flower.
You must enter into the soul of the mango tree.
A man at the Omega Point will be pierced if the arrow is perfectly vertical.
It is an arrow of light. Even Shiva will fall when it is verticalized.
There is a reciprocity and interaction between them.
As the moon is the "food of love
It is an umbrella on the Numerator side.
The breeze is called a rutting elephant.
He is speaking of the shoot or point, which is a vertical axis within you:
it wants to flower.
You must enter into the soul of the mango tree.
A man at the Omega Point will be pierced if the arrow is perfectly vertical.
It is an arrow of light. Even Shiva will fall when it is verticalized.
There is a reciprocity and interaction between them.
As the moon is the "food of love
It is an umbrella on the Numerator side.
The breeze is called a rutting elephant.
.
Last verse of the work.
The cuckoos are the bards. You want a word - AUM.
Conceptualism - sound.
This is a final touch of structuralism: after all is enumerated,
a mathematical sinus curve is inserted as a figure eight on the numerator side for the conceptual aspect.
Let that function at the core of your consciousness, never becoming dimmed or hidden: do not discard the noble sentiment of love.
The cuckoos are the bards. You want a word - AUM.
Conceptualism - sound.
This is a final touch of structuralism: after all is enumerated,
a mathematical sinus curve is inserted as a figure eight on the numerator side for the conceptual aspect.
Let that function at the core of your consciousness, never becoming dimmed or hidden: do not discard the noble sentiment of love.
P26
KALIDASA'S SHAKUNTALA
THE ASOKA TREE.
From roots to top, the Asoka has sprouts of a coral colour.
It is giving endless blossoms - when erotic mysticism is complete, there is a thrilling of the entire body.
Sadness overtakes a young girl in love, as a form of mysticism.
From roots to top, the Asoka has sprouts of a coral colour.
It is giving endless blossoms - when erotic mysticism is complete, there is a thrilling of the entire body.
Sadness overtakes a young girl in love, as a form of mysticism.
The Vikramurvasiyam of Kalidasa has the same situation: an Asoka tree waiting to flower requires the kick of a Princess.
There is a one-to-one correspondence between the élan vital of the tree and the queen.
Kicking means to understand the one in terms of the other: she kicks it so that it can get married.
This is an equation between the Self and the Non-Self.
This kind of eroticism gives content to the notion of the Absolute.
The play is properly called Abhijnanashakuntala. Abhijnana means: "Leading toward knowledge", that is, her "recognition" by Dusyanta.
Kalidasa sets up the audience hypnotically before the beginning of the Play.
For example, the charioteer's speech about the horses.
You are being transferred from the horizontal chariot to the soul of a horse.
The horses change horizontal space into vertical space.
Kalidasa wants you to do the same thing.
There is a one-to-one correspondence between the élan vital of the tree and the queen.
Kicking means to understand the one in terms of the other: she kicks it so that it can get married.
This is an equation between the Self and the Non-Self.
This kind of eroticism gives content to the notion of the Absolute.
The play is properly called Abhijnanashakuntala. Abhijnana means: "Leading toward knowledge", that is, her "recognition" by Dusyanta.
Kalidasa sets up the audience hypnotically before the beginning of the Play.
For example, the charioteer's speech about the horses.
You are being transferred from the horizontal chariot to the soul of a horse.
The horses change horizontal space into vertical space.
Kalidasa wants you to do the same thing.
THE NANDI, OR BENEDICTION FROM SHAKUNTALA.
"That which is the first creation of the creator,
That which bears the offering made according to due rites,
That which is the offerer,
Those two which make time,
That which pervades all space,
having for its quality what is perceived by the ear,
That which is the womb of all seeds,
That by which all living beings breathe:
Endowed with these eight visible forms, may the supreme Lord protect you."
That which bears the offering made according to due rites,
That which is the offerer,
Those two which make time,
That which pervades all space,
having for its quality what is perceived by the ear,
That which is the womb of all seeds,
That by which all living beings breathe:
Endowed with these eight visible forms, may the supreme Lord protect you."
The benediction is a masterpiece of structuralism: a god with eight visible forms, both cosmology and psychology together.
1. The first creation is fire, the centre, as with Thales etc.
2. That which bears the fire (what is put in) according to a certain order in the universe: some grains.
3. The Hotri, or sacrificant, who makes the offering.
4 and 5. "Those two who make time" the sun and moon are to be verticalized
so as to rise and set in your consciousness as if presented to the five senses.
6. The visible world - i.e. attainable in a schematised form.
7. Whatever you call the horizontal world - the womb of all seeds.
8. That by which all things live - breath.
1. The first creation is fire, the centre, as with Thales etc.
2. That which bears the fire (what is put in) according to a certain order in the universe: some grains.
3. The Hotri, or sacrificant, who makes the offering.
4 and 5. "Those two who make time" the sun and moon are to be verticalized
so as to rise and set in your consciousness as if presented to the five senses.
6. The visible world - i.e. attainable in a schematised form.
7. Whatever you call the horizontal world - the womb of all seeds.
8. That by which all things live - breath.
ALL THESE FALL INTO A VERTICAL AXIS.
ABSTRACT AND GENERALIZE AND YOU GET STRUCTURE,
THAT IS, FORM.
ABSTRACT AND GENERALIZE AND YOU GET STRUCTURE,
THAT IS, FORM.
The existing translation (Motilal Banarsidas edition) of the Nandi proves to be inadequate, the Guru will translate the work.
THE NANDI FROM SHAKUNTALA
One god is praised here: Ishana.
A Puranic interpretation of the eight forms would be wrong,
Thence the confusion on the previous pages.
Kalidasa must be read as a Vedantin.
Quote the Gita, Brahma Sutras, and Upanishads.
Shabda Pramana means that "the words" (e.g. The words of an authority or scripture. ED) are taken as being true.
Other Pramanas (sources of valid knowledge. ED) are:
1. Pratyaksha - what is given to the senses.
2. Anumana - inference (where there is smoke, there is fire).
3. Upamana - analogy between two examples.
4. Sastrimitva - all Shastras would be wrong if there were no Brahman.
This is Shabda Pramana.
These are four of the ten Pramanas ("commonly accepted in Vedanta" see Science the Absolute on this website)
One god is praised here: Ishana.
A Puranic interpretation of the eight forms would be wrong,
Thence the confusion on the previous pages.
Kalidasa must be read as a Vedantin.
Quote the Gita, Brahma Sutras, and Upanishads.
Shabda Pramana means that "the words" (e.g. The words of an authority or scripture. ED) are taken as being true.
Other Pramanas (sources of valid knowledge. ED) are:
1. Pratyaksha - what is given to the senses.
2. Anumana - inference (where there is smoke, there is fire).
3. Upamana - analogy between two examples.
4. Sastrimitva - all Shastras would be wrong if there were no Brahman.
This is Shabda Pramana.
These are four of the ten Pramanas ("commonly accepted in Vedanta" see Science the Absolute on this website)
P28
In the Nandi, we find:
1. Fire
2. Ghee
3. The Brahmin sacrificer (these two are interchangeable: "ya cha hotri...")
4 and 5. Time as sun and moon. There is an alternating figure eight.
Time mounts the vertical axis, like S and S' (see Bergson in the Science of the Absolute on this website)
They must be verticalized.
Substance, attribute, sound, "that even which we speak of as Nature".
(Manifestation itself is the last mentioned, it goes at the top; it is a nature-principle which gives breathing to all things.
Thus, here are eight presences that you can approach as being the visible universal concrete: also with the eight-fold content or aspects.
Let this universal principle be your saviour - let it save you.
"I worship you and I want to be saved by what you see".
The same elements are used in the play: Shakuntala, a pregnant woman, is the centre, the king forgets her; this is the tragedy.
If you are not tuned to the Absolute, not completely verticalized, you will forget your own wife as Dusyanta forgets Shakuntala, which is the greatest injustice.
Dushyanta is horizontally oriented - thus he forgets his wife.
Shakuntala is vertical.
(there now follows a passage in devanagiri characters and a partial transcription of the Nandi,
omitted for typographical reasons, ED)
omitted for typographical reasons, ED)
P29
PROVISIONAL TRANSLATION OF THE NANDI:
1. That creation which is the first of all created (things),
2. That which is the clarified butter.
3. That which is at the same time the sacrificer
4 and 5. Those two which make time
6. That ground in which inhere (stand established) quality, sound and substance
(i.e. the horizontal world), filling the whole universe (vyaya visvam)
7. That which is said to be the seed of all manifestation.
8. That which gives life to all living beings
May all of you be saved by the eight bodies (presences)
Let these, the eight manifestations of the Lord,
attainable by what is given to the senses, save you.
(This is the Atman that is at the top of the vertical axis - the Omega point.
(A structure in the text is here omitted as it has a line through it ED)
HERACLITUS ("THE OBSCURE") OF EPHESUS, C.536 - 470 BCE
In opposition to the Milesians, from which he is separated by a generation,
he held that there is nothing abiding in the world.
All things and the universe as a whole, are in constant, ceaseless flux;
nothing is, only change is real, all is a continuous passing away.
For this reason, the world appeared to him to be an ever- living fire,
a consuming movement in which only the orderliness of the succession of things, or, as Heraclitus called it, the "reason" or "destiny" of the world remains always the same.
Heraclitus foreshadowed the modern conception of the uniformity of natural law.
In opposition to the Milesians, from which he is separated by a generation,
he held that there is nothing abiding in the world.
All things and the universe as a whole, are in constant, ceaseless flux;
nothing is, only change is real, all is a continuous passing away.
For this reason, the world appeared to him to be an ever- living fire,
a consuming movement in which only the orderliness of the succession of things, or, as Heraclitus called it, the "reason" or "destiny" of the world remains always the same.
Heraclitus foreshadowed the modern conception of the uniformity of natural law.
P31
WHAT IS THE RELEVANCE OF THE NANDI TO THE PLAY ITSELF?
"The play is the thing" - what you see and what you feel must correspond, resulting in joy, a revealing of human nature with its echo in the soul, an equation between the Self and the Non-Self.
What you represent while being saved has one-to-one correspondence with the action of the play. Fire is in the centre: tilt it to the Denominator and you will get Shakuntala.
The same structure will be evidenced.
There is a slight asymmetry of perspective as between the Self and the Non-Self.
The spectators are asked to put themselves in a certain mood.
Tilt the camera from the positive side of the audience to the negative side of the unhappy Shakuntala.
"The play is the thing" - what you see and what you feel must correspond, resulting in joy, a revealing of human nature with its echo in the soul, an equation between the Self and the Non-Self.
What you represent while being saved has one-to-one correspondence with the action of the play. Fire is in the centre: tilt it to the Denominator and you will get Shakuntala.
The same structure will be evidenced.
There is a slight asymmetry of perspective as between the Self and the Non-Self.
The spectators are asked to put themselves in a certain mood.
Tilt the camera from the positive side of the audience to the negative side of the unhappy Shakuntala.
P32
SHAKUNTALA
THE VERSE IN SHAKUNTALA IS IN A FOUR-FOLD PATTERN.
He is describing the beginning of summer:
1. The days become delightful at evening.
2. To plunge in the water is so delightful.
3. The breeze is filled with perfume, blowing horizontally.
4. There is a boy sleeping in a deep shady place.
He puts people in a proper mood by first singing to them, establishing a harmony between the people and the summer season in which the action is going to take place.
The actress sings: this gives a background for a tender, erotic context.
This is a delicate, contemplative tragedy.
Flowers kissed by bees are the most delicate.
This is the world of occasionalism.
He is describing the beginning of summer:
1. The days become delightful at evening.
2. To plunge in the water is so delightful.
3. The breeze is filled with perfume, blowing horizontally.
4. There is a boy sleeping in a deep shady place.
He puts people in a proper mood by first singing to them, establishing a harmony between the people and the summer season in which the action is going to take place.
The actress sings: this gives a background for a tender, erotic context.
This is a delicate, contemplative tragedy.
Flowers kissed by bees are the most delicate.
This is the world of occasionalism.
The audience is immobilised, as in a picture: subject and object interpenetrate;
interest is evenly balanced.
interest is evenly balanced.
The wife tells the King the Denominator side.
The King is flying, so he is slightly absent-minded.
He is half-awake, to induce a similar state in the audience.
Then there is a gentle surprise - Dusyanta is brought in and the Prologue ends.
The King is flying, so he is slightly absent-minded.
He is half-awake, to induce a similar state in the audience.
Then there is a gentle surprise - Dusyanta is brought in and the Prologue ends.
The Stage Manager or Sutradhara says the words have to meet the acting:
conceptualism meets perceptualism.
That twilight zone of consciousness between them is where the drama can flourish - not too vague, not too definite.
conceptualism meets perceptualism.
That twilight zone of consciousness between them is where the drama can flourish - not too vague, not too definite.
P34
ACT I
The "Pinaka-Wielder" is Shiva. This brings to mind the archetypal hunter
- to fulfil the same purpose of revealing Brahman.
This gives the drama its place in the Indian context.
First get the horizontal line clear.
The charioteer is in the centre and speaks.
The "Pinaka-Wielder" is Shiva. This brings to mind the archetypal hunter
- to fulfil the same purpose of revealing Brahman.
This gives the drama its place in the Indian context.
First get the horizontal line clear.
The charioteer is in the centre and speaks.
The King's speech indicates the horizontal vanishing point;
The King sees a jumping, zigzag line.
This is a philosophical reflection on the notion of horizontal existence.
Hunting was a necessity in the time of Shiva, at the origin of human life.
So, the hunter reveals a horizontal line.
The infinity of space and relative speed is indicated here.
There is a Fitzgerald Contraction, a telescoping; grass is falling half-eaten out of the deer's mouth.
It moves lightly; the horizontal line is mathematical.
It is bounding; this indicates the vertical and gives the zigzag line of Bergson.
It shows fear of the horizontal.
The first axis is delineated here.
The King's mind is horizontal; the deer's is vertical.
Beauty is the sinus curve of its neck.
The deer was grazing vertically until the King appeared.
The dropped grass is a schematic, dotted line of tragedy and sympathy.
"Level ground" - the King is impatient of the speed of the chariot and wants to establish reciprocity between horses and chariot in pure motion.
Once reciprocity is established in motion, then the vertical is marked by a description of the chariot and the vision of the King.
Space and time are put into the melting pot: this is a "monde affiné", as in Bergson.
"Objects...," means the speed is great. Non-dual = vertical.
Bent becomes straight.
"So great the speed...": reciprocity abolishes all perspective.
He acts fixing an arrow, only fixing the arrow, not shooting.
Then from behind the scenes comes a voice saying that the deer must not be killed, it belongs to the hermitage.
"Killing" is the last word that suggests horizontality: now, the drama is about to begin as a contest between the horizontal and the vertical.
The vertical must not be forgotten.
The King sees a jumping, zigzag line.
This is a philosophical reflection on the notion of horizontal existence.
Hunting was a necessity in the time of Shiva, at the origin of human life.
So, the hunter reveals a horizontal line.
The infinity of space and relative speed is indicated here.
There is a Fitzgerald Contraction, a telescoping; grass is falling half-eaten out of the deer's mouth.
It moves lightly; the horizontal line is mathematical.
It is bounding; this indicates the vertical and gives the zigzag line of Bergson.
It shows fear of the horizontal.
The first axis is delineated here.
The King's mind is horizontal; the deer's is vertical.
Beauty is the sinus curve of its neck.
The deer was grazing vertically until the King appeared.
The dropped grass is a schematic, dotted line of tragedy and sympathy.
"Level ground" - the King is impatient of the speed of the chariot and wants to establish reciprocity between horses and chariot in pure motion.
Once reciprocity is established in motion, then the vertical is marked by a description of the chariot and the vision of the King.
Space and time are put into the melting pot: this is a "monde affiné", as in Bergson.
"Objects...," means the speed is great. Non-dual = vertical.
Bent becomes straight.
"So great the speed...": reciprocity abolishes all perspective.
He acts fixing an arrow, only fixing the arrow, not shooting.
Then from behind the scenes comes a voice saying that the deer must not be killed, it belongs to the hermitage.
"Killing" is the last word that suggests horizontality: now, the drama is about to begin as a contest between the horizontal and the vertical.
The vertical must not be forgotten.
A voice says: "…of the Ashram, o King; he (the deer) must not be slain"
The Brahmachari is an agent of the Guru. The Ashram is an island of neutrality, it is vertical, and there is no killing there.
This is treated with much respect, even by a king.
This is an epoch-making statement: a Brahmachari is greater than a king.
The hermits are a point of insertion of the vertical.
The Brahmachari is an agent of the Guru. The Ashram is an island of neutrality, it is vertical, and there is no killing there.
This is treated with much respect, even by a king.
This is an epoch-making statement: a Brahmachari is greater than a king.
The hermits are a point of insertion of the vertical.
The hermit's speech: "...flowers burnt by fire..".
Agni (fire) is brought in. A sacrifice may be necessary in the outside world,
but not according to the vertical ahimsa (non-hurting) of the Ashram.
"Burning" is for the verticalisation of the horizontal.
"Puru": this is the archetypal pattern for all city-kings; weapons should be for decreasing, not inflicting, suffering.
He wishes:" May thou have a son", the King says, " It is accepted " and bows.
Somatirtha (the ashram) is a place on the vertical line, which intersects with the horizontal.
Kanva has gone there to rectify something about the birth of Shakuntala.
She is the daughter of Menaka, fathered by a forest Rishi; she could not be taken to heaven and so went to Kanva's ashram.
Kanva goes to determine Shakuntala's fate, but her fate is decided at Kanva's Ashram itself.
Kanva knows there is an evil fate in store for her, and has gone to Somatirtha, which is more vertical, to alleviate it, but there are certain things which are in the hands of providence.
The King's devotion - he is also innocent. (?ED)
The King's speech on entering the Ashram: there are two descriptions:
one is Jaina, or pre-Vedic, and the other Vedic, he wants to put them together.
Agni (fire) is brought in. A sacrifice may be necessary in the outside world,
but not according to the vertical ahimsa (non-hurting) of the Ashram.
"Burning" is for the verticalisation of the horizontal.
"Puru": this is the archetypal pattern for all city-kings; weapons should be for decreasing, not inflicting, suffering.
He wishes:" May thou have a son", the King says, " It is accepted " and bows.
Somatirtha (the ashram) is a place on the vertical line, which intersects with the horizontal.
Kanva has gone there to rectify something about the birth of Shakuntala.
She is the daughter of Menaka, fathered by a forest Rishi; she could not be taken to heaven and so went to Kanva's ashram.
Kanva goes to determine Shakuntala's fate, but her fate is decided at Kanva's Ashram itself.
Kanva knows there is an evil fate in store for her, and has gone to Somatirtha, which is more vertical, to alleviate it, but there are certain things which are in the hands of providence.
The King's devotion - he is also innocent. (?ED)
The King's speech on entering the Ashram: there are two descriptions:
one is Jaina, or pre-Vedic, and the other Vedic, he wants to put them together.
DESCRIPTION OF THE ASHRAM:
1. Some cereal grains, placed by parrots in the holes of trees, are overflowing: there is abundance and peace - the Jainas will never hunt or disturb living beings.
(See the Gymnosophists described by the Greek historian, Herodotus, in his account of Alexander the Great).
2. Ingudi is a nut crushed on stones for oil for lamps.
This is a self-sufficient economic system, it is simple.
3. The deer in an Ashram know no fear and are full of confidence.
The animals are protected absolutely.
4. There are lines from the washing of the clothes of the Sannyasins that mark the water level. This is inferential as are the signs described in 1 and 2; only 1 is visible.
1. Some cereal grains, placed by parrots in the holes of trees, are overflowing: there is abundance and peace - the Jainas will never hunt or disturb living beings.
(See the Gymnosophists described by the Greek historian, Herodotus, in his account of Alexander the Great).
2. Ingudi is a nut crushed on stones for oil for lamps.
This is a self-sufficient economic system, it is simple.
3. The deer in an Ashram know no fear and are full of confidence.
The animals are protected absolutely.
4. There are lines from the washing of the clothes of the Sannyasins that mark the water level. This is inferential as are the signs described in 1 and 2; only 1 is visible.
P36
There are three kinds of inference here; he may be showing the Pramanas.
The above belongs to the Jaina context, what follows belongs to the Vedic context.
Kalidasa inserts himself into these two, before presenting Vedanta.
The King must protect the Rishi performing the fire sacrifice in the forest.
The second description is closer to the altar, since the grass is cut away,
this is more of a cultivated garden.
These two descriptions form a pedestal of two concentric circles on which to place the fire of the sacrificer. Then the vertical axis can be built from there to the voice from heaven, which will be heard by the Hotri, or sacrificer.
The clipped Dharba grass means that it has been put into the fire by the Brahmin.
The above belongs to the Jaina context, what follows belongs to the Vedic context.
Kalidasa inserts himself into these two, before presenting Vedanta.
The King must protect the Rishi performing the fire sacrifice in the forest.
The second description is closer to the altar, since the grass is cut away,
this is more of a cultivated garden.
These two descriptions form a pedestal of two concentric circles on which to place the fire of the sacrificer. Then the vertical axis can be built from there to the voice from heaven, which will be heard by the Hotri, or sacrificer.
The clipped Dharba grass means that it has been put into the fire by the Brahmin.
II
1. Sprouts of grass indicate the horizontal axis.
2. Leaves made vague indicate the Vedic world of ghee and the Hotri.
3. "Roots bathed..." indicates the denominator side, the Alpha point source,
the elementals.
4. Young fawns....
2. Leaves made vague indicate the Vedic world of ghee and the Hotri.
3. "Roots bathed..." indicates the denominator side, the Alpha point source,
the elementals.
4. Young fawns....
The river is horizontal.
Ripples; fire-bather-Brahmin (? ED).
The root is the source of the vertical axis.
This is a gentle attempt to verticalize the scene.
Ripples; fire-bather-Brahmin (? ED).
The root is the source of the vertical axis.
This is a gentle attempt to verticalize the scene.
The King descends; he is going to meet Shakuntala.
He is leaving one level and going one step down; he leaves the horses there.
He is leaving one level and going one step down; he leaves the horses there.
The King enters - the doors of possibility can open anywhere in this world.
You do not have to wait for possibilities that do not present themselves:
what happens to you is in the scheme of the best of possible worlds.
The King's arm throbs: this is traditionally a signal of disaster: the right arm for women and the left arm for men. Unhappiness is going to start now. There is a jolt in the machinery - a delicate cybernetic balance is disturbed.
The damsels with pets - there is a dialectical relationship between the young girls and their pets, there is an equation between them, they sit like a baby in their lap.
...contains sinus curves. It is like the breasts of a woman, each is different.
The beauty is in the reciprocity.
You do not have to wait for possibilities that do not present themselves:
what happens to you is in the scheme of the best of possible worlds.
The King's arm throbs: this is traditionally a signal of disaster: the right arm for women and the left arm for men. Unhappiness is going to start now. There is a jolt in the machinery - a delicate cybernetic balance is disturbed.
The damsels with pets - there is a dialectical relationship between the young girls and their pets, there is an equation between them, they sit like a baby in their lap.
...contains sinus curves. It is like the breasts of a woman, each is different.
The beauty is in the reciprocity.
The two girls.
Anasuya (lit. "without jealousy"): Kanva loves plants more than does Shakuntala: they represent the negative side of the vertical axis.
Anasuya (lit. "without jealousy"): Kanva loves plants more than does Shakuntala: they represent the negative side of the vertical axis.
Priyamvada (lit. "praising, agreeable")
"The affection of a sister" - there is a unity of life, even plants,
all is the Absolute.
"The affection of a sister" - there is a unity of life, even plants,
all is the Absolute.
P37
Reciprocity is established here between Shakuntala and the flower.
Note that Vedanta never postulates something that you cannot see.
She cares for the plants through, by, for and in herself: this Atman is the same as that:
Note that Vedanta never postulates something that you cannot see.
She cares for the plants through, by, for and in herself: this Atman is the same as that:
Advaita comes alive.
Do not talk metaphysics without its lived counterpart.
Do not talk metaphysics without its lived counterpart.
The sami cut by a lotus leaf - The King says Kanva should not discipline Shakuntala, who has all her tenderness expressed as a flower.
Ascetic discipline is not for a young girl who is like a lotus leaf.
The diamond (tapas) is at the Omega point.
Dusyanta can see this from the horizontal.
Shakuntala's bark garment - this is a study in contrast, he purposely plays on the bark garment and the growing breasts of a young girl.
The joking between the girls is only meant to set off the sublimity of the King's poem.
"The beauty of women shines the more by contrast".
The one sets off the other, like the spot on the moon.
The two opposites cancel.
She shines by double negation - the bark garment,
and by double assertion - her own beauty.
She does violence to her own nature and becomes more beautiful;
she accepts the renunciation of Shiva.
Ascetic discipline is not for a young girl who is like a lotus leaf.
The diamond (tapas) is at the Omega point.
Dusyanta can see this from the horizontal.
Shakuntala's bark garment - this is a study in contrast, he purposely plays on the bark garment and the growing breasts of a young girl.
The joking between the girls is only meant to set off the sublimity of the King's poem.
"The beauty of women shines the more by contrast".
The one sets off the other, like the spot on the moon.
The two opposites cancel.
She shines by double negation - the bark garment,
and by double assertion - her own beauty.
She does violence to her own nature and becomes more beautiful;
she accepts the renunciation of Shiva.
.
What is it that could not serve as an ornament?
The paradox is transcended by her beauty.
The paradox is transcended by her beauty.
The Kesara tree and the creeper: the moving leaves seem to beckon to her.
Priyamvada sees the same beauty as the King; it is absolute beauty; both agree.
"Dusyanta is calling you" that is the dvanyarta (saying one thing in terms of another).
The creeper hangs on the tree for support while putting out flowers.
This is also schematic.
The creeper hangs on the tree for support while putting out flowers.
This is also schematic.
The bark garment - why is it tied with delicate knots?
"Both spoiling the beauty, as also acting as an ornament".
This means that the dress is embellished from the Numerator
and detracted from by the Denominator.
Beauty is brought out by contrast, as in the case of the spots on the moon or a lotus next to moss.
A leaf can cover a flower in its tender state; it can also be an ornament to its beauty. Both are presented here.
The King purposely leaves the paradox here.
The delicate knots are supporting the breasts from the numerator side, from the shoulders.
"Both spoiling the beauty, as also acting as an ornament".
This means that the dress is embellished from the Numerator
and detracted from by the Denominator.
Beauty is brought out by contrast, as in the case of the spots on the moon or a lotus next to moss.
A leaf can cover a flower in its tender state; it can also be an ornament to its beauty. Both are presented here.
The King purposely leaves the paradox here.
The delicate knots are supporting the breasts from the numerator side, from the shoulders.
P38
To appreciate the beauty of Shakuntala, approach her from the austere side, her youth comes from below, there is a tragedy when youth and austerity meet.
Shakuntala is like a mango sprouting young leaves, a creeper putting forth flowers.
There is a dialectical relationship between them; the marriage of plants at the proper season, a gentle conspiracy of nature.
One must be attuned in order to appreciate these factors.
There is a pre-established harmony (cf. Leibnitz) between the mango and the creeper.
Nature is full of occasionalism, especially in the spring.
One must be attuned in order to appreciate these factors.
There is a pre-established harmony (cf. Leibnitz) between the mango and the creeper.
Nature is full of occasionalism, especially in the spring.
What is her caste? - his conscience is his own Pramana, his heart will only be attracted by a certain type of woman.
She must be, among other things, fully horizontal and vital.
The King belongs to the horizontal context, so the wife cannot be like a peasant, below the line on the negative side.
How can a vertical girl meet the horizontal king?
He is puzzled by the one-one correspondence in the Ashram.
She must be, among other things, fully horizontal and vital.
The King belongs to the horizontal context, so the wife cannot be like a peasant, below the line on the negative side.
How can a vertical girl meet the horizontal king?
He is puzzled by the one-one correspondence in the Ashram.
The King's speech about the bee - dvanyarta (see above)
- the King is describing his own intentions through the reality of the bee.
The bee is flying between the ears and eyes and the lower lip.
This is the square root of minus-one: the beauty of a woman is to be found on the negative side.
The bee is a universal principle of honey seeking; the buzzing noise is meant for nature to hear that it is seeking something.
It is touching the throbbing eye - the eyes are like the Sapharika fish: the seat of gossip is between the eyes and the ears - between what you see and what you hear. The lover will be doing the same thing, kissing the eyes and the ears and whispering - just like the bees: put them together and you will get a mystical world which can take in the Absolute with all its implications.
If the bee appreciates her face, then it is Absolute Beauty.
The King is alluded to - the whole of nature conspires.
Shakuntala feels emotions not fit for an Ashram, she knows they are horizontal.
The King says that he is on duty.
- the King is describing his own intentions through the reality of the bee.
The bee is flying between the ears and eyes and the lower lip.
This is the square root of minus-one: the beauty of a woman is to be found on the negative side.
The bee is a universal principle of honey seeking; the buzzing noise is meant for nature to hear that it is seeking something.
It is touching the throbbing eye - the eyes are like the Sapharika fish: the seat of gossip is between the eyes and the ears - between what you see and what you hear. The lover will be doing the same thing, kissing the eyes and the ears and whispering - just like the bees: put them together and you will get a mystical world which can take in the Absolute with all its implications.
If the bee appreciates her face, then it is Absolute Beauty.
The King is alluded to - the whole of nature conspires.
Shakuntala feels emotions not fit for an Ashram, she knows they are horizontal.
The King says that he is on duty.
P39
There is a sparkling light - trembling beauty comes from the hypostatic side; it cannot come from the "surface of the earth".
This relates to Shakuntala being born of a heavenly nymph.
Shakuntala's beauty is not only sprung from nature, but descends as well from the Numerator: real beauty comes from the two sides - there is a glow that is not from chemistry, but it is faster than the velocity of light.
This relates to Shakuntala being born of a heavenly nymph.
Shakuntala's beauty is not only sprung from nature, but descends as well from the Numerator: real beauty comes from the two sides - there is a glow that is not from chemistry, but it is faster than the velocity of light.
.
.
.
.
.
Movement begins to build up vertically.
The chariot and the charioteer cancel into Zeno's Paradox.
Vertical values begin to prevail, the ascent begins. The dotted circle is magic, inside it there is no fear.
The second pedestal is created by bringing in the horses; actual speed is transformed into psychological speed.
There are three deer: afraid; not afraid; not sacrificed,
The chariot and the charioteer cancel into Zeno's Paradox.
Vertical values begin to prevail, the ascent begins. The dotted circle is magic, inside it there is no fear.
The second pedestal is created by bringing in the horses; actual speed is transformed into psychological speed.
There are three deer: afraid; not afraid; not sacrificed,
There are two pedestals:
1. Jaina - referring to space
2. Vedic - referring to time
This refers to history, not geography: one is in the mind and the other is outside it.
1. Jaina - referring to space
2. Vedic - referring to time
This refers to history, not geography: one is in the mind and the other is outside it.
.
To bring in the reciprocity of movement, you bring in the horses, who are afraid of the speed of the chariot: not just A > B, but A B
Then it becomes vertical.
Now two O Points have been created as two pedestals.
Then it becomes vertical.
Now two O Points have been created as two pedestals.
.
The ripples on the river are the hairs upon the mother's skin -
she descends from above to feed the baby:
this is a Vedic heaven, which nourishes the child.
The river surface glistens from the sun above, not from below.
The O Point here is the navel of the mother.
The Sun God shines on the river, the nourishment is sucked up by the tree.
There is a fire at the O Point, a fire of hunger or of sacrifice.
So there are two pedestals: proto-Aryan and Vedic.
she descends from above to feed the baby:
this is a Vedic heaven, which nourishes the child.
The river surface glistens from the sun above, not from below.
The O Point here is the navel of the mother.
The Sun God shines on the river, the nourishment is sucked up by the tree.
There is a fire at the O Point, a fire of hunger or of sacrifice.
So there are two pedestals: proto-Aryan and Vedic.
.
This is the structure of the first description for comparison
Anyway; the two pedestals are constructed.
Bhur-, Bhuvar- and Svar-lokas (the three worlds of earth, heaven and in between) correspond to:
Anyway; the two pedestals are constructed.
Bhur-, Bhuvar- and Svar-lokas (the three worlds of earth, heaven and in between) correspond to:
1. Cognition
2. Dusyanta's forgetfulness, the breaking of the continuity
3. Re-cognition.
2. Dusyanta's forgetfulness, the breaking of the continuity
3. Re-cognition.
The second pedestal also contains fawns - for kindness is also there.
The smoke rising makes it into a "Monde affiné".
Contemplation requires subjectivity.
Glistening is most important: the skin of a woman is where nourishment comes from: the hair on a mother's stomach is holy: it comes from above.
"The soul of a child is its rosy behind".
The Vedic world is brought in for need of a voice from heaven for his cosmology and for the telling of the story.
The deer are innocent: note their willingness to believe... this is not Jaina.
"Tremulous beams" - their origin is in the sun and the moon, not the earth,
so he recognises the hypostatic side: Saraswati
(see V 75 in the Saundarya Lahari of Sankara).
The hermits may be questioned: they have no reserve, no cheques to cash.
No conventional barriers; "contemplatives are not bothered by conventions".
"Having eyes like her own": female deer >< Shakuntala.
The bright eyes are very vertical. A husband is not needed.
This is the Absolute from the negative side. It is vitalistic.
Is she going to continue vertically, or is she going to spread out to the horizontal?
She is dependent on another; she will not make her own decision.
If the horizontal had not interfered, she could have continued vertically like the deer, as a Brahmacharini (ashram student), this is the implication.
Priyamvada says that Shakuntala is meant for marriage;
thus the King is not violating Shakuntala's svadharma (destiny).
The vertical line of light is to be broken.
The King asks: " Is she going to live the rest of her life like the female deer, with half-drunk eyes?"
She has certain traits, which show she wants a husband badly.
The King wants to say that Shakuntala is perfect both vertically and horizontally; thus the event has to take place exactly at the O Point.
It is possible for her to pass through the horizontal without incident,
but Kanva intends her for a normal marriage.
This means that the two axes must combine and merge properly.
Do not say that one is good and the other bad.
Take what the King says, what Priyamvada says and what Kalidasa says and put them all together in the scheme of the Nandi: get salvation.
A woman has to be dependent on her father's wish:
this is the saddest of truths. She has to be dependent.
Why is a father's soul so concerned about his daughter's chastity?
The smoke rising makes it into a "Monde affiné".
Contemplation requires subjectivity.
Glistening is most important: the skin of a woman is where nourishment comes from: the hair on a mother's stomach is holy: it comes from above.
"The soul of a child is its rosy behind".
The Vedic world is brought in for need of a voice from heaven for his cosmology and for the telling of the story.
The deer are innocent: note their willingness to believe... this is not Jaina.
"Tremulous beams" - their origin is in the sun and the moon, not the earth,
so he recognises the hypostatic side: Saraswati
(see V 75 in the Saundarya Lahari of Sankara).
The hermits may be questioned: they have no reserve, no cheques to cash.
No conventional barriers; "contemplatives are not bothered by conventions".
"Having eyes like her own": female deer >< Shakuntala.
The bright eyes are very vertical. A husband is not needed.
This is the Absolute from the negative side. It is vitalistic.
Is she going to continue vertically, or is she going to spread out to the horizontal?
She is dependent on another; she will not make her own decision.
If the horizontal had not interfered, she could have continued vertically like the deer, as a Brahmacharini (ashram student), this is the implication.
Priyamvada says that Shakuntala is meant for marriage;
thus the King is not violating Shakuntala's svadharma (destiny).
The vertical line of light is to be broken.
The King asks: " Is she going to live the rest of her life like the female deer, with half-drunk eyes?"
She has certain traits, which show she wants a husband badly.
The King wants to say that Shakuntala is perfect both vertically and horizontally; thus the event has to take place exactly at the O Point.
It is possible for her to pass through the horizontal without incident,
but Kanva intends her for a normal marriage.
This means that the two axes must combine and merge properly.
Do not say that one is good and the other bad.
Take what the King says, what Priyamvada says and what Kalidasa says and put them all together in the scheme of the Nandi: get salvation.
A woman has to be dependent on her father's wish:
this is the saddest of truths. She has to be dependent.
Why is a father's soul so concerned about his daughter's chastity?
P41
If you neglect the father's wishes there will be disaster.
The fire and the gem: the King thought it was a fire in a cavern, but it was a gem.
Poetic justice requires that the King be correct; his duty is now clear to him;
it is almost a categorical imperative that he makes love to her.
But he will forget, as the first dimension causes the fourth dimension to be lost.
Neither of them is a yogi:
the King is non-innocent and horizontal,
Shakuntala is innocent and vertical.
Life is a paradox, understand that and it dissolves itself in the liquid of unitive understanding.
The obstructions seemed to have been removed from the King's social conscience. Kalidasa seems to be approving.
Gautami is the mother superior of the convent; it has to have supervision.
The first-dimensional touch of anger is to be there:
there is no idealism in Vedanta: it is apodictic and realistic.
Bodily movements, etc. - there is little difference between intentional movement and actual movement:
"as if he had gone and come back again".
Intentionality: he thinks of going, then changes his mind.
Actual going and coming has the same status as mental going and coming.
Shakuntala is spoken of as a "hermit's daughter" in order to bring in the fourth dimension, making her a universal concrete.
So, the intentional and the actual have the same status in phenomenological epistemology.
The girls are all interested in Shakuntala's love.
The Absolute is participated in by everybody.
There is some Absolutist interest.
Priyamvada turns her back; she does not want to leave.
A beautiful pose - later for this.
The King's ring - She must be tired from carrying water, the King will pay the debt with his signet ring.
Description: both her hands are red from lifting the two pots
There are two trees to be watered, her hands droop, her breasts heave, etc.
Thus dvanyarta (saying one thing in terms of another), the O point in a woman's life has been touched:
the whole of nature conspires to unite her with Dusyanta.
Instead of watering the plants for her, he gives her the ring
- this needs more attention.
The debt of Shakuntala is "paid": the whole thing is conceptual and nominalistic.
Shakuntala says: "I do not belong to that world - settle your disputes
- I am on the Denominator side, and that is another order of existence.
The fire and the gem: the King thought it was a fire in a cavern, but it was a gem.
Poetic justice requires that the King be correct; his duty is now clear to him;
it is almost a categorical imperative that he makes love to her.
But he will forget, as the first dimension causes the fourth dimension to be lost.
Neither of them is a yogi:
the King is non-innocent and horizontal,
Shakuntala is innocent and vertical.
Life is a paradox, understand that and it dissolves itself in the liquid of unitive understanding.
The obstructions seemed to have been removed from the King's social conscience. Kalidasa seems to be approving.
Gautami is the mother superior of the convent; it has to have supervision.
The first-dimensional touch of anger is to be there:
there is no idealism in Vedanta: it is apodictic and realistic.
Bodily movements, etc. - there is little difference between intentional movement and actual movement:
"as if he had gone and come back again".
Intentionality: he thinks of going, then changes his mind.
Actual going and coming has the same status as mental going and coming.
Shakuntala is spoken of as a "hermit's daughter" in order to bring in the fourth dimension, making her a universal concrete.
So, the intentional and the actual have the same status in phenomenological epistemology.
The girls are all interested in Shakuntala's love.
The Absolute is participated in by everybody.
There is some Absolutist interest.
Priyamvada turns her back; she does not want to leave.
A beautiful pose - later for this.
The King's ring - She must be tired from carrying water, the King will pay the debt with his signet ring.
Description: both her hands are red from lifting the two pots
There are two trees to be watered, her hands droop, her breasts heave, etc.
Thus dvanyarta (saying one thing in terms of another), the O point in a woman's life has been touched:
the whole of nature conspires to unite her with Dusyanta.
Instead of watering the plants for her, he gives her the ring
- this needs more attention.
The debt of Shakuntala is "paid": the whole thing is conceptual and nominalistic.
Shakuntala says: "I do not belong to that world - settle your disputes
- I am on the Denominator side, and that is another order of existence.
P42
The alarm is sounded - the harsh, horizontal world intervenes.
The elephant is Ganesha, who must be propitiated if the forest is to be peaceful: space and wind can create trouble: the elements in turmoil are Ganesha.
Shakuntala is held back: nature conspires to have its own way.
Does it really conspire? Nature can laugh at you.
Nature can both protest and conspire.
At a given moment in a woman's life it becomes absolutely necessary for her to have a child.
When nature conspires against a man, he should know how to propitiate the elephant god.
The elephant is Ganesha, who must be propitiated if the forest is to be peaceful: space and wind can create trouble: the elements in turmoil are Ganesha.
Shakuntala is held back: nature conspires to have its own way.
Does it really conspire? Nature can laugh at you.
Nature can both protest and conspire.
At a given moment in a woman's life it becomes absolutely necessary for her to have a child.
When nature conspires against a man, he should know how to propitiate the elephant god.
THE DARSANA MALA OF NARAYANA GURU
A philosophical system in the West means logic, not experience.
Indian Philosophy depends on the experience of a yogi
- it is called a vision, or Darsana.
Indian Philosophy has a different kind of logic for each Darsana:
these are closed systems, which are graded.
We may read: "I am not in them, they are in me" and again:
I am in them and they are in me ",
or: "The ocean is not in the wave, but the wave is in the ocean".
There are many possibilities.
Indian Philosophy depends on the experience of a yogi
- it is called a vision, or Darsana.
Indian Philosophy has a different kind of logic for each Darsana:
these are closed systems, which are graded.
We may read: "I am not in them, they are in me" and again:
I am in them and they are in me ",
or: "The ocean is not in the wave, but the wave is in the ocean".
There are many possibilities.
Narayana Guru adopts many different logics; he grades them by going from the known to the unknown.
Thus, the first question is "whence this world?".
Narayana Guru respects this question and replies with the first Darsana.
He first accepts this world is a given datum.
Why is there reference to a "Lord"?
The first Darsana is Adhyaropa and the second Apavada.
Thus, the first question is "whence this world?".
Narayana Guru respects this question and replies with the first Darsana.
He first accepts this world is a given datum.
Why is there reference to a "Lord"?
The first Darsana is Adhyaropa and the second Apavada.
P43
Vedanta has been charged with:
Solipsism - quoting itself in support of itself;
the argument of self-evidence of the self.
Syncretism - that it is an aggregate of miscellaneous opinions.
Eclecticism -
Escapism -
Pantheism -
Idealism -
Solipsism - quoting itself in support of itself;
the argument of self-evidence of the self.
Syncretism - that it is an aggregate of miscellaneous opinions.
Eclecticism -
Escapism -
Pantheism -
Idealism -
There are traditionally 6 Darsanas:
1. Nyaya - whose guru is Gautama
2. Vaisesika - whose guru is Kanada
3. Samkhya - whose guru is Kapila
4. Yoga - whose guru is Patanjali
5. Purva Mimamsa - whose guru is Jaimini
6. Uttara Mimamsa - whose guru is Badarayana
1. Nyaya - whose guru is Gautama
2. Vaisesika - whose guru is Kanada
3. Samkhya - whose guru is Kapila
4. Yoga - whose guru is Patanjali
5. Purva Mimamsa - whose guru is Jaimini
6. Uttara Mimamsa - whose guru is Badarayana
CHAPTER I
ADHYAROPA DARSANA
ADHYAROPA DARSANA
Adhi - "towards"
Yaropa - "supposition"
Yaropa - "supposition"
We take the sense - data as true to begin with;
we progress from the known to the unknown.
We see the physical world.
If we call it real, what are the implications of this, according to Vedanta?
we progress from the known to the unknown.
We see the physical world.
If we call it real, what are the implications of this, according to Vedanta?
The second Darsana will say: "Do not put it out there - outside
- it is inside, in the mind."
- it is inside, in the mind."
How does he reconcile "O Lord Supreme" and "Everything was nothingness"?
The Absolute is a paradox - look at it one way and it exists, in another way it does not exist. Put something and nothing as axes.
Here the vertical exists and the horizontal does not.
In the last verse, the horizontal exists and the vertical does not.
God is a mathematician, creating a mathematical world.
"Dreamwise" is conceptual.
The "Lord Supreme" is the Absolute.
A cup in a dream occupies no space.
"Again by mere willing" - God was lonely and desired to create the world
- it could not have been otherwise.
The Absolute is a paradox - look at it one way and it exists, in another way it does not exist. Put something and nothing as axes.
Here the vertical exists and the horizontal does not.
In the last verse, the horizontal exists and the vertical does not.
God is a mathematician, creating a mathematical world.
"Dreamwise" is conceptual.
The "Lord Supreme" is the Absolute.
A cup in a dream occupies no space.
"Again by mere willing" - God was lonely and desired to create the world
- it could not have been otherwise.
P44
"Dreamwise" and "willing" mark this as Vedanta.
He created only dreamwise from nothing - stop complaining.
In other chapters "The Lord Supreme" will be changed to Maya, etc.
.
He created only dreamwise from nothing - stop complaining.
In other chapters "The Lord Supreme" will be changed to Maya, etc.
.
It is not "grosso modo" now, there is a slight tuning.
From a mathematical god, we go to incipient memory factors (in the memory of God).
Memory is just beginning to function, it is incipient.
"Incipient memory factor" is the translation of "Vasana" in Sanskrit.
"Then the Lord, by his own power of false presentiment" - this is the dark side of nescience, and what is seen through it is false.
If you see a ghost in a post, this is the nescience principle,
This is the negative side of God, negative illusions - realities are positive.
God is like a magician; he can represent things that are not there
- this is the eidetic presentiment of the mind.
The negative side - nescience- creates the positive side, this world.
From a mathematical god, we go to incipient memory factors (in the memory of God).
Memory is just beginning to function, it is incipient.
"Incipient memory factor" is the translation of "Vasana" in Sanskrit.
"Then the Lord, by his own power of false presentiment" - this is the dark side of nescience, and what is seen through it is false.
If you see a ghost in a post, this is the nescience principle,
This is the negative side of God, negative illusions - realities are positive.
God is like a magician; he can represent things that are not there
- this is the eidetic presentiment of the mind.
The negative side - nescience- creates the positive side, this world.
This is a vertical creation from, in, through, by and for, God.
The Absolute cannot be an outside cause for God.
The Absolute cannot be an outside cause for God.
4. Light and Dark, Negative Absolute and Positive Absolute,
They have reciprocity between them and are independent and mutually exclusive and antinomian.
Here the basic structural feature is given by Narayana Guru: Positive and Negative.
They have reciprocity between them and are independent and mutually exclusive and antinomian.
Here the basic structural feature is given by Narayana Guru: Positive and Negative.
5.A neutral analogy: a picture in the mind - creation and cause are here brought close: the cause in the mind and the effect on canvas.
6. Why a Yogi? When a Yogi materialises something,
what he puts on the table is positive and overt: the power in him is inert and negative.
This is "for those who are willing to believe":
do not question the validity of the example, just ask for another.
what he puts on the table is positive and overt: the power in him is inert and negative.
This is "for those who are willing to believe":
do not question the validity of the example, just ask for another.
7. Ghost-like nescience prevails. A child is caught between the opposites of dark and bright, it is because the link between intelligence and non-intelligence is not strong.
8. The problem of evil is met here. (Cf. Voltaire on Leibnitz, who talks of "the best of possible worlds")
"Yes, it was terrible..." (re the Lisbon earthquake in Candide)
He calls it a wonder: the paradox, when pronounced, becomes a "Misterium Tremendum".
Narayana Guru resolves the paradox by accepting this terrible world.
"Yes, it was terrible..." (re the Lisbon earthquake in Candide)
He calls it a wonder: the paradox, when pronounced, becomes a "Misterium Tremendum".
Narayana Guru resolves the paradox by accepting this terrible world.
P45
There is a terrible side to life: "in the blues".
Do not say that a tragedy like the earthquake does not happen, Narayana Guru recognises it.
Include tragedy in your life.
Do not say that a tragedy like the earthquake does not happen, Narayana Guru recognises it.
Include tragedy in your life.
9. An important doctrine of Vedanta, which will not accept evolution, because it is mechanistic.
A slow, gradual process of becoming is not accepted: all came to be at one stroke.
(Cf. The Big Bang theory).
Insert the vertical axis, he will not concede the horizontal axis here.
He wants a flash of lightning and the vertical axis.
A slow, gradual process of becoming is not accepted: all came to be at one stroke.
(Cf. The Big Bang theory).
Insert the vertical axis, he will not concede the horizontal axis here.
He wants a flash of lightning and the vertical axis.
10. Whatever you say, this world came to be, and there must be a cause for it.
Trace it backward and find the negative source of everything, as the clay is to the pot.
The manifested is horizontal.
Abolish the three Gods into the Absolute as the material cause of the universe.
Trace it backward and find the negative source of everything, as the clay is to the pot.
The manifested is horizontal.
Abolish the three Gods into the Absolute as the material cause of the universe.
CHAPTER II
METHODOLOGY
(NEGATIVELY WINDING)
METHODOLOGY
(NEGATIVELY WINDING)
This will neutralise the previous chapter.
This is reduction after the previous chapter's construction.
The first chapter is slightly teleological, this is removed here.
This is reduction after the previous chapter's construction.
The first chapter is slightly teleological, this is removed here.
1.You cannot abolish your mind, even if the world is unreal.
The duality between existence and non-existence is abolished in consciousness.
We descend backwards into the mind.
The duality between existence and non-existence is abolished in consciousness.
We descend backwards into the mind.
2. Cancellation to arrive at the Absolute.
Sinking into the source.
The World is reduced; the source of the effect is the cause.
For smoke it is fire. The carved lion is the effect and the ontological basis or cause is the stone.
This is satkaranavada (primacy of cause over effects) - delve into the cause - do not get lost in the many effects.
Sinking into the source.
The World is reduced; the source of the effect is the cause.
For smoke it is fire. The carved lion is the effect and the ontological basis or cause is the stone.
This is satkaranavada (primacy of cause over effects) - delve into the cause - do not get lost in the many effects.
3. IF CAUSE AND EFFECT CANCEL (HAVE THE SAME STATUS) - THEN YOU HAVE THE ABSOLUTE.
There is an inter-dependence between cause and effect.
How could the effect have being, and the cause non-being?
This is a phenomenological epoché; turn the brackets.
The secret of dialectics is that one side is open, the other closed.
There is an inter-dependence between cause and effect.
How could the effect have being, and the cause non-being?
This is a phenomenological epoché; turn the brackets.
The secret of dialectics is that one side is open, the other closed.
6. Avoid contradiction and tautology and you get the Absolute.
7. Quantitativeness is abolished in the mind by division ad infinitum
- it becomes qualitative.
- it becomes qualitative.
8. Neutral Monism = mind-stuff
Pure = thinking substance
Pure = thinking substance
9. Sat-cit-ananda (existence, subsistence and value)
NOTES FOR TALKS ON CHAPTER I
1. "In the beginning" means vertical
"Thereafter" means horizontal.
He depends on nothing outside himself.
The universe is created "dream-wise", from nothing, by his mere willing".
"Thereafter" means horizontal.
He depends on nothing outside himself.
The universe is created "dream-wise", from nothing, by his mere willing".
2. The Lord stands alone like a magician; there is nothing in the universe other than God.
He has a certain power of specification or qualification called Maya.
This world is false.
The act of creation takes place in and through him.
Vasanas are incipient memory factors.
Negative nescience creates positive illusions (realities).
He has a certain power of specification or qualification called Maya.
This world is false.
The act of creation takes place in and through him.
Vasanas are incipient memory factors.
Negative nescience creates positive illusions (realities).
3.The Lord is not subject to any process of becoming:
only the potent power within the Lord is capable of creating this world.
God externalises and internalises himself.
He has his own neutral epistemological status.
only the potent power within the Lord is capable of creating this world.
God externalises and internalises himself.
He has his own neutral epistemological status.
Verses 1-5 give primacy to externalisation.
Verses 6-10 give primacy to internalisation.
Verses 6-10 give primacy to internalisation.
Verses 1-10 give a constant neutral epistemological status,
Before a more full view of the Absolute, which is given later.
This is vertical creation.
Before a more full view of the Absolute, which is given later.
This is vertical creation.
4. The power is of two kinds -
Taijasi: belonging to light, or heliotropic.
Tamasi: belonging to darkness, or geotropic.
There is no coexistence between them.
The arrow of pure becoming goes both forward and backward.
Measured or measurable time is thus ruled out.
(Structure - see verse 9)
Taijasi: belonging to light, or heliotropic.
Tamasi: belonging to darkness, or geotropic.
There is no coexistence between them.
The arrow of pure becoming goes both forward and backward.
Measured or measurable time is thus ruled out.
(Structure - see verse 9)
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5. The world has only of a mental status before creation.
This is a Neutral analogy.
Mind-stuff is Virtual
There is the Pure and the Practical.
The universe is only an artistic expression of the mind of the Lord.
This is a Neutral analogy.
Mind-stuff is Virtual
There is the Pure and the Practical.
The universe is only an artistic expression of the mind of the Lord.
6. This verse deals with cosmology.
Psychic powers = incipient memory factors = Vasanas
Prakrti: the mind with expanding and contracting tendencies
Sankalpa: willing
Shakti: potent specifying power
Manas: mind
Prakrti (nature): some meaning.
Psychic powers = incipient memory factors = Vasanas
Prakrti: the mind with expanding and contracting tendencies
Sankalpa: willing
Shakti: potent specifying power
Manas: mind
Prakrti (nature): some meaning.
The Lord remains a constant, neutral between cause and effect.
In Verse10 - the Ultimate and Totality.
In Verse10 - the Ultimate and Totality.
7. This verse deals with psychology.
Creation is terrible without Self-knowledge.
Correct knowledge about the Self makes suffering disappear.
The subject matter is Atma-Vidya, or final release.
The creation of the Lord includes suffering aspects.
Creation is terrible without Self-knowledge.
Correct knowledge about the Self makes suffering disappear.
The subject matter is Atma-Vidya, or final release.
The creation of the Lord includes suffering aspects.
8. The Lord is able to create with no basis in reality because he is all-powerful.
It is wonderful because empty of content and yet still a "marvel".
It is wonderful because empty of content and yet still a "marvel".
9.At one stroke from the Self, as if from sleep, come by the willing Self out of the Self, as when you wake from deep sleep, the world appears.
The One Self thought, "Let me be many".
The Lord's power is so great that it appeared at one stroke.
Bring the four aspects together - it is the same Absolute.
The One Self thought, "Let me be many".
The Lord's power is so great that it appeared at one stroke.
Bring the four aspects together - it is the same Absolute.
10. The Lord is both instrumental and material cause.
The initial supposed position is taken: it will be neutralised in the next verse to present the attributeless Absolute.
The concrete universe is proper to this chapter.
The seed and a tree belong to a concrete, yet universal biological order.
The initial supposed position is taken: it will be neutralised in the next verse to present the attributeless Absolute.
The concrete universe is proper to this chapter.
The seed and a tree belong to a concrete, yet universal biological order.
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CHAPTER III
PHENOMENOLOGY
ASATYA DARSANA
The first chapter dealt with construction: the creator is seen from ten perspectives: biological, cosmological, theological, psychological, etc.: cause and effect.
The second chapter is a reversal, here there is a negative perspective,
by reduction we arrive at an irreducible minimum: sat, chit, ananda. (existence, subsistence, value)
Here we have further reduction from the ontological source of the universe to arrive at a negative source, Maya.
PHENOMENOLOGY
ASATYA DARSANA
The first chapter dealt with construction: the creator is seen from ten perspectives: biological, cosmological, theological, psychological, etc.: cause and effect.
The second chapter is a reversal, here there is a negative perspective,
by reduction we arrive at an irreducible minimum: sat, chit, ananda. (existence, subsistence, value)
Here we have further reduction from the ontological source of the universe to arrive at a negative source, Maya.
.
A first-degree descent is made, and unreality is dealt with here.
Is the world unreal? Many philosophers say yes.
There is a principle of falsehood, Avidya, on the negative side.
This is first-degree negativity - Asatya-
when we press it one degree further, we will get Maya
-which is more intense and more general.
Is the world unreal? Many philosophers say yes.
There is a principle of falsehood, Avidya, on the negative side.
This is first-degree negativity - Asatya-
when we press it one degree further, we will get Maya
-which is more intense and more general.
Eidetic Presentiment: see Buber, Jaspers, Sartre, etc. on the falsehood of experience.
Kant writes of the Noumenal, or Absolute, and the Phenomenal,
or the domain of cosmology.
This is a new Darsana, corresponding to Husserl.
or the domain of cosmology.
This is a new Darsana, corresponding to Husserl.
Falsehood or false presentiment is defined by Narayana Guru.
You think you see something, but there is no basis or foundation for it
- this is an eidetic phenomenon.
You think you see something, but there is no basis or foundation for it
- this is an eidetic phenomenon.
Existence belongs to the phenomenological order - thus it is only an appearance"
The negative method: falsehood arrives at existence.
"Omnis determinatio negatio" (all determination is a negation)
The negative method: falsehood arrives at existence.
"Omnis determinatio negatio" (all determination is a negation)
.
1.The world is seen in the self.
In the negative side of ourselves there is something corresponding to the blue in the sky.
There is an example and a definition in each verse.
Blue is a phenomenological effect. It is false.
The blue of the sky is the type of effect we are concerned with in this chapter.
The Self is the reality; the mind is false; it is compared to the blue in the sky.
The mind is seen in the Self - it is false.
Asatya is the blue.
In the negative side of ourselves there is something corresponding to the blue in the sky.
There is an example and a definition in each verse.
Blue is a phenomenological effect. It is false.
The blue of the sky is the type of effect we are concerned with in this chapter.
The Self is the reality; the mind is false; it is compared to the blue in the sky.
The mind is seen in the Self - it is false.
Asatya is the blue.
Additional notes:
In the Subjective Self we have a presentiment of the world.
As we see the qualitative blue in the quantitative sky,
so there is a colour solid, which is qualitative: the world is here seen in a nuclear form in the Self, which is quantitative like an ocean.
In the Subjective Self we have a presentiment of the world.
As we see the qualitative blue in the quantitative sky,
so there is a colour solid, which is qualitative: the world is here seen in a nuclear form in the Self, which is quantitative like an ocean.
.
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2. Mind and Nescience mean the same thing.
The mind ON THE NEGATIVE SIDE is the cause of errors, of eidetic presentiments.
It projects the world we see on the positive side.
The mind ON THE NEGATIVE SIDE is the cause of errors, of eidetic presentiments.
It projects the world we see on the positive side.
.
Make the mind more negative and it becomes nescience.
When it goes to the positive side we get a presentiment of the will, which gives us our view of the world.
The mind, on the negative side, becomes the will on the positive side.
If nescience is abolished, then the will is a mere configuration:
i.e. it is not so real and frightening, it has a milder form of reality, like a drawing.
This is when we push the mind back up to the O point.
The mind matches with its own variety of presentiment.
When it goes to the positive side we get a presentiment of the will, which gives us our view of the world.
The mind, on the negative side, becomes the will on the positive side.
If nescience is abolished, then the will is a mere configuration:
i.e. it is not so real and frightening, it has a milder form of reality, like a drawing.
This is when we push the mind back up to the O point.
The mind matches with its own variety of presentiment.
3. The coward sees a ghost and begins to scream: this is caused by ignorance.
The more knowledge there is on the Denominator side,
the less reality there is on the Numerator side. The source is the mind; the effect is what you see on the Numerator.
Cancel them out.
The more knowledge there is on the Denominator side,
the less reality there is on the Numerator side. The source is the mind; the effect is what you see on the Numerator.
Cancel them out.
.
4. The method of agreement and difference:
there are five electric switches and you want to find the right one:
put them all on, put them all off: the result is certitude.
The relationship could be expressed as "no will, no world; no world, no will":
thus it is a necessary, not a contingent, relationship.
there are five electric switches and you want to find the right one:
put them all on, put them all off: the result is certitude.
The relationship could be expressed as "no will, no world; no world, no will":
thus it is a necessary, not a contingent, relationship.
5. The will is positive; mind, or nescience, or darkness is negative.
Magic, like Indra's is on the positive side; mind is on the negative side as the cause.
They are interchangeable terms.
Magic, like Indra's is on the positive side; mind is on the negative side as the cause.
They are interchangeable terms.
.
6. A mirage is only a reflection: it has a false status compared to real water,
just as a reflected image is false.
just as a reflected image is false.
7. Vedanta does not accept evolution. Matter is a presentiment.
You think that there is evolution - there is only an eidetic presentiment,
created by Indra's magic.
This is the difference between Darwin and Bergson.
So this is the Big Bang theory: someone switched the universe on.
You think that there is evolution - there is only an eidetic presentiment,
created by Indra's magic.
This is the difference between Darwin and Bergson.
So this is the Big Bang theory: someone switched the universe on.
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8. The terms have to have bipolarity arranged and graded.
9. A child will say that the doll is hungry.
A mature man sees the world as an eidetic presentiment.
Falsehood has a plus and a minus side: the plus side is tolerable to the mature man.
A mature man sees the world as an eidetic presentiment.
Falsehood has a plus and a minus side: the plus side is tolerable to the mature man.
10. The extreme limit of negativity is Asatyam (the unreal).
Satyam (the Real) is the positive pole of the same structure.
The negative pole is the Absolute Unreal
It is a stone in this chapter, in another chapter it can be a lion - teleologically. Here it is a stone, which is real.
The Phenomenological epoché is what is under reference here:
See Husserl, Heidegger, Jaspers and Buber.
Always use synonyms: arrange the terms negatively and find the synonyms on the plus side.
Satyam (the Real) is the positive pole of the same structure.
The negative pole is the Absolute Unreal
It is a stone in this chapter, in another chapter it can be a lion - teleologically. Here it is a stone, which is real.
The Phenomenological epoché is what is under reference here:
See Husserl, Heidegger, Jaspers and Buber.
Always use synonyms: arrange the terms negatively and find the synonyms on the plus side.
The errors: Thinking that the reflection is real is more foolish than trying to find the doll.
The first error is horizontal; the second is vertical; deeper and peculiarly human.
The grades of error of appearance and falsehood have been given here in preparation for the next chapter, Maya Darsana.
The first error is horizontal; the second is vertical; deeper and peculiarly human.
The grades of error of appearance and falsehood have been given here in preparation for the next chapter, Maya Darsana.
ADDITIONAL NOTES ON CHAPTER III
There is a delicate inversion in the first verse:
The Numerator: in the expansive sky, the blue is seen.
Invert that sky - turn it upside down and put it inside yourself:
in the expansive Self this universe is seen.
The blue and the universe are both seen to be qualitative, with a one-to-one correspondence between them.
A child has a presentiment of life in its doll.
Is the mirror image real or the object real?
Neither is real: this is Asatyam.
When the mind, which is negative, functions, you get the will, which is positive.
There is a delicate inversion in the first verse:
The Numerator: in the expansive sky, the blue is seen.
Invert that sky - turn it upside down and put it inside yourself:
in the expansive Self this universe is seen.
The blue and the universe are both seen to be qualitative, with a one-to-one correspondence between them.
A child has a presentiment of life in its doll.
Is the mirror image real or the object real?
Neither is real: this is Asatyam.
When the mind, which is negative, functions, you get the will, which is positive.
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By examining falsehood you arrive at Brahman:
the mirror (horizontal) and the doll falsehood (vertical), when seen together, reveal a circle in the centre,
which is Brahman, phenomenologically understood.
Extract the negative root, your brain will burst into Indra's magic, as if through a tube.
Darkness is the cause of the blue, of the world, of Indra's magic, etc.
You get Absolute Falsehood.
the mirror (horizontal) and the doll falsehood (vertical), when seen together, reveal a circle in the centre,
which is Brahman, phenomenologically understood.
Extract the negative root, your brain will burst into Indra's magic, as if through a tube.
Darkness is the cause of the blue, of the world, of Indra's magic, etc.
You get Absolute Falsehood.
ADDITIONAL NOTES.
1.The world originates in the mind, but there is no mind to be seen.
A philosophy that puts the mind at the centre as a phenomenon is phenomenology.
A philosophy that puts the mind at the centre as a phenomenon is phenomenology.
.
We cannot see the mind.
The quantitative sky has qualitative blueness.
The quantitative sky has qualitative blueness.
.
.
.
There is a vertical series:
Indra's Magic
The Will
The Mind
Nescience
Nature
Indra's Magic
The Will
The Mind
Nescience
Nature
CHAPTER IV
MAYA DARSANAM (VISION OF NEGATION)
"That which deceives you into error, generically, is Maya"
Cf. the "Negativitat" of Hegel, Schopenauer, Kant, Fichte, etc.
Negativity is that which is not positive.
It leads to what is not the Absolute.
"Omnis determinatio negatio" (all determination is a negation - Spinoza)
MAYA DARSANAM (VISION OF NEGATION)
"That which deceives you into error, generically, is Maya"
Cf. the "Negativitat" of Hegel, Schopenauer, Kant, Fichte, etc.
Negativity is that which is not positive.
It leads to what is not the Absolute.
"Omnis determinatio negatio" (all determination is a negation - Spinoza)
So, Maya is the name for the Negative Absolute.
In Verse I, Narayana Guru itemises all the possible kinds of negative error, seven in number:
1st - Vidya - Wrong judgement - faulty knowledge
2nd - Avidya - too much importance to the immanent
3rd - Para
4th - Apara
5th - Tamas
6th - Pradhana - The seed contains the oak-tree, space is abolished
7th - Prakrti - The centripetal force of becoming, it expands horizontally.
1st - Vidya - Wrong judgement - faulty knowledge
2nd - Avidya - too much importance to the immanent
3rd - Para
4th - Apara
5th - Tamas
6th - Pradhana - The seed contains the oak-tree, space is abolished
7th - Prakrti - The centripetal force of becoming, it expands horizontally.
Note the neutral position of the fifth verse.
Negativity is a vague idea to be understood through examples.
Negativity is a vague idea to be understood through examples.
.
So we have classified all possible illusions: we can do no more than that.
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VERSE 1
Maya is what is not real - it is the category of all possible error, what really does not exist but seems to exist in practical life.
Chapter III, Phenomenology, was translucent error,
what we have here is a more opaque error.
Chapter V is even darker, though two-sided.
Maya is what is not real - it is the category of all possible error, what really does not exist but seems to exist in practical life.
Chapter III, Phenomenology, was translucent error,
what we have here is a more opaque error.
Chapter V is even darker, though two-sided.
VERSE 2
Maya = non-existent = Absolute
The world's prior non-existence, as in the pot and the clay.
It is the principle of indeterminate possibility.
It also covers Manas and Sankalpa.
Maya = non-existent = Absolute
The world's prior non-existence, as in the pot and the clay.
It is the principle of indeterminate possibility.
It also covers Manas and Sankalpa.
VERSE 3
Vidya, knowledge, is the bright intelligent side of Maya.
The other side, faulty knowledge, is the dark, ignorant side.
This is double negation in order to double-assert the Absolute.
Vidya, knowledge, is the bright intelligent side of Maya.
The other side, faulty knowledge, is the dark, ignorant side.
This is double negation in order to double-assert the Absolute.
VERSE 4
Avidya means "contrary to science".
Avidya means "contrary to science".
VERSE 5
A neutral verse.
This verse deals with Para, the transcendent, and the Cidatma, or reasoning self.
The Cidatma is pure reason and the self.
The Jiva is the vital principle, experiencing pleasure and pain.
A neutral verse.
This verse deals with Para, the transcendent, and the Cidatma, or reasoning self.
The Cidatma is pure reason and the self.
The Jiva is the vital principle, experiencing pleasure and pain.
VERSE 6
The mind imagines suffering and pain
- thus it is transcendent - Para - not gross, but subtle.
The mind imagines suffering and pain
- thus it is transcendent - Para - not gross, but subtle.
.
.
STRUCTURE SLC8 - P52A
.
.
VERSE 7
What remains in the self in the form of gross presentiment
- the world, as a product of the mind is Apara: the gross.
The negative, ontological, fully existential Absolute has a nuclear pattern of reality as a universal concrete: the colour solid.
What remains in the self in the form of gross presentiment
- the world, as a product of the mind is Apara: the gross.
The negative, ontological, fully existential Absolute has a nuclear pattern of reality as a universal concrete: the colour solid.
VERSE 8
The cause of the supposition of the world in the self is Tamas (darkness).
Darkness is the cause of the silver in the mother-of-pearl,
As also of the blue in the sky.
The cause of the supposition of the world in the self is Tamas (darkness).
Darkness is the cause of the silver in the mother-of-pearl,
As also of the blue in the sky.
VERSE 9
Pradhana is the ontological source of Maya.
It includes the world as a seed at the Alpha point.
Space is abolished.
Pradhana is the ontological source of Maya.
It includes the world as a seed at the Alpha point.
Space is abolished.
VERSE 10
Prakrti, nature, spreads out the three nature modalities.
Nature is the basis of what is seen in the world.
Narayana Guru wants to underline that Nature should not be left out.
The Sanskrit prefix "Pra" - means "more so".
"-krit" means "overt activity", hence " Prakrti"
"-dhana" means "to contain or hold together", hence "pradhana"
Prakrti, nature, spreads out the three nature modalities.
Nature is the basis of what is seen in the world.
Narayana Guru wants to underline that Nature should not be left out.
The Sanskrit prefix "Pra" - means "more so".
"-krit" means "overt activity", hence " Prakrti"
"-dhana" means "to contain or hold together", hence "pradhana"
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CHAPTER V
NORMALIZATION - CONSCIOUSNESS
BHANA DARSANAM
NORMALIZATION - CONSCIOUSNESS
BHANA DARSANAM
This Darsana is like the Mandukya Upanishad; it is pure structuralism.
Bhana is overt consciousness; it is overt, teleological and objective.
Bhanasreya is the basis of consciousness; it is perceptual, ontological,
subjective and basic.
Bhanasreya is the basis of consciousness; it is perceptual, ontological,
subjective and basic.
.
Bhana has four types of consciousness.
Bhanasreya has four types of consciousness.
Both of these four have generic and specific aspects.
Bhanasreya has four types of consciousness.
Both of these four have generic and specific aspects.
.
There is a one-to-one correspondence between the divisions of the Numerator and the Denominator.
Finally we get sixteen subdivisions:
four generic and four specific on both sides.
Finally we get sixteen subdivisions:
four generic and four specific on both sides.
Consciousness is both inside and outside.
There is a rapid alternation between the subject and the object;
a kind of pulsation or propagation; you can hear the bees' wings buzzing.
It is a figure eight and it is nothing.
There is a rapid alternation between the subject and the object;
a kind of pulsation or propagation; you can hear the bees' wings buzzing.
It is a figure eight and it is nothing.
.
This structure is a conic section.
Submit consciousness to abstraction and generalisation and you get the Absolute.
Submit consciousness to abstraction and generalisation and you get the Absolute.
VERSE 4
"I" is generic, "body" is specific.
"This" is generic "pot" is specific.
"I" is generic, "body" is specific.
"This" is generic "pot" is specific.
.
.
.
.
.
VERSE 9
You cannot know the Self, but you can feel the Self.
You cannot know the Self, but you can feel the Self.
VERSE 10
This is a Mahavakya (fundamental aphorism of Vedanta): neutral and normal;
it is evidence of the perfect symmetry of this work.
This is a Mahavakya (fundamental aphorism of Vedanta): neutral and normal;
it is evidence of the perfect symmetry of this work.
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CHAPTER VI
VISION OF ACTION
KARMA DARSANAM
VISION OF ACTION
KARMA DARSANAM
Kutastha - the Self established on a rock, alone.
A false soul standing on a rock is compared to Karma.
Karma is verticalized action, pure action, instrumentalism; not ritualism, fate, etc.
Here, it refers to the plus side.
Corrected Karma is called Dharma, or right action.
This is like the instrumentalism of John Dewey:
"We are all instruments of action" - functionalists, operationalists.
They do not want to talk about a soul or God - thus they talk of instruments.
Man is acting: the motive force is the Self, which is seeking.
The Self on the negative side is seen as an instrument of action on the positive side.
A false soul standing on a rock is compared to Karma.
Karma is verticalized action, pure action, instrumentalism; not ritualism, fate, etc.
Here, it refers to the plus side.
Corrected Karma is called Dharma, or right action.
This is like the instrumentalism of John Dewey:
"We are all instruments of action" - functionalists, operationalists.
They do not want to talk about a soul or God - thus they talk of instruments.
Man is acting: the motive force is the Self, which is seeking.
The Self on the negative side is seen as an instrument of action on the positive side.
VERSE 1
.
It is the Self, through Maya, that performs all Karma.
The cause is the Self and the effect is the Non-Self.
The principle of indeterminism intervenes between the Self and the Non-Self, causing them to interact.
The Atma or Absolute Self is actionless and vertical.
The horizontal version of the Self has many actions.
The Denominator Self is the cause of action.
The cause is the Self and the effect is the Non-Self.
The principle of indeterminism intervenes between the Self and the Non-Self, causing them to interact.
The Atma or Absolute Self is actionless and vertical.
The horizontal version of the Self has many actions.
The Denominator Self is the cause of action.
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VERSE 2
Most elementary actions are itemised here.
These are delicate and pure forms of action.
Passivity is evidenced here.
It is the Paramatma or Cittendriyatma, the Denominator Self,
by which action is done.
Most elementary actions are itemised here.
These are delicate and pure forms of action.
Passivity is evidenced here.
It is the Paramatma or Cittendriyatma, the Denominator Self,
by which action is done.
VERSE 3
Anterior to action is the Self, alone. Maya has a negative and horizontal influence here, which keeps things swinging.
Anterior to action is the Self, alone. Maya has a negative and horizontal influence here, which keeps things swinging.
VERSE 4
The paradox of action and the actor.
Eliminate duality - there is really no action at all: just as there is no water in a mirage.
So there is no action when the situation is verticalized.
The paradox of action and the actor.
Eliminate duality - there is really no action at all: just as there is no water in a mirage.
So there is no action when the situation is verticalized.
VERSE 5
When eating, you should say, "I do nothing" and thus banish relativity.
When eating, you should say, "I do nothing" and thus banish relativity.
VERSE 6
Is fire burning action? Individually, yes.
But it is really only the Positive side of the Absolute, cancel it against the negative side.
There is no action; action is relative to the whole.
All is absorbed into the whole.
Is fire burning action? Individually, yes.
But it is really only the Positive side of the Absolute, cancel it against the negative side.
There is no action; action is relative to the whole.
All is absorbed into the whole.
VERSE 7
Inside the body you hear murmurs, etc.
Again, cancel out the paradox.
Inside the body you hear murmurs, etc.
Again, cancel out the paradox.
VERSE 8
Existence, birth, growth, change, death, etc. are all biological and horizontal.
Verticalize them and it is abolished.
Existence, birth, growth, change, death, etc. are all biological and horizontal.
Verticalize them and it is abolished.
VERSE 9
It is the Self that causes action, but you should say, "I do nothing".
The Omega point Self is the result of the Alpha Point Self: cancel into the Absolute Self.
It is the Self that causes action, but you should say, "I do nothing".
The Omega point Self is the result of the Alpha Point Self: cancel into the Absolute Self.
VERSE 10
By being objective reality, even the Self; because you see it as the Non-Self,
is a kind of conditioning: even as a reflected glory it comes under the Eternal.
The Omega point is the result of action.
The Alpha point is the cause of action.
These cancel out into the Absolute.
We have changed from descending to ascending dialectics,
we arrive at an Omega Point like the mother-of-pearl:
we get a God who is conditioned.
By being objective reality, even the Self; because you see it as the Non-Self,
is a kind of conditioning: even as a reflected glory it comes under the Eternal.
The Omega point is the result of action.
The Alpha point is the cause of action.
These cancel out into the Absolute.
We have changed from descending to ascending dialectics,
we arrive at an Omega Point like the mother-of-pearl:
we get a God who is conditioned.
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CHAPTER VII
VISION OF AWARENESS OR REASON
JNANA DARSANAM
VISION OF AWARENESS OR REASON
JNANA DARSANAM
Now we come to reason.
Reason is seen here as a function of the Self.
Previously it was seen as action; here it is white hot as opposed to red-hot.
When the frequencies are very high, we get reason.
Reason is seen here as a function of the Self.
Previously it was seen as action; here it is white hot as opposed to red-hot.
When the frequencies are very high, we get reason.
.
VERSE 1
The two kinds of reasoning are presented here:
pure or unconditioned, and practical, or conditioned.
The two kinds of reasoning are presented here:
pure or unconditioned, and practical, or conditioned.
VERSE 2
Conditioned reasoning is presented here: you think that you are thinking.
Conditioned reasoning is presented here: you think that you are thinking.
VERSE 3
"I am conscious of my ego, and can distinguish the two aspects of the Self."
When a man says that, he has self-awareness.
"I am conscious of my ego, and can distinguish the two aspects of the Self."
When a man says that, he has self-awareness.
VERSE 4
Awareness of the Non-Self is dealt with here:
this means lost in pluralism and a plurality of interests. "What profiteth it a man if he gaineth the whole world...."
This is the converse of the previous verse.
Awareness of the Non-Self is dealt with here:
this means lost in pluralism and a plurality of interests. "What profiteth it a man if he gaineth the whole world...."
This is the converse of the previous verse.
VERSE 5
Knowing after proper scrutiny is called true knowledge:
Other knowledge is false knowledge.
Both are awareness of a conditioned order.
Knowing after proper scrutiny is called true knowledge:
Other knowledge is false knowledge.
Both are awareness of a conditioned order.
VERSE 6
Pratyaksha is empirical awareness, as given to the senses.
By its presence it declares its proof; it requires no logic.
Pratyaksha is empirical awareness, as given to the senses.
By its presence it declares its proof; it requires no logic.
VERSE 7
Inferential Awareness is when you see smoke and infer that fire is there:
this is called Anumiti.
Inferential Awareness is when you see smoke and infer that fire is there:
this is called Anumiti.
VERSE 8
Analogical Awareness, or Upamiti, is the subject here.
If you read the description of an Okapi - it has stripes like a zebra and it looks like a giraffe
- while you are looking for this animal, you employ Upamiti.
You have not had the experience of Brahman, but you have heard of it and work towards it.
This is all-important for Brahmavidya.
Analogical Awareness, or Upamiti, is the subject here.
If you read the description of an Okapi - it has stripes like a zebra and it looks like a giraffe
- while you are looking for this animal, you employ Upamiti.
You have not had the experience of Brahman, but you have heard of it and work towards it.
This is all-important for Brahmavidya.
P57
FURTHER NOTES ON KALIDASA'S RITUSAMHARA.
A woman in love is the proper starting point for Kalidasa.
The heart of a girl in love touches the Muladhara Chakra.
We get a Cézanne world: slightly subjective and out of focus.
"A MAID IN MEDITATION, FANCY FREE..."
THIS IS A FIT STARTING POINT TO DISCUSS MYSTICISM;
IT DOES NOT GET STARTED WITHOUT EROTICISM.
Rain touches the roots of a creeper: that happiness in the plant can be reproduced in the Muladhara Chakra within you: add to this a slight mystical eroticism to move the Kundalini.
This is one feeling in the range from Kundalini to Khecari.(from the bottom to the top of the vertical axis)
The heart of a girl in love touches the Muladhara Chakra.
We get a Cézanne world: slightly subjective and out of focus.
"A MAID IN MEDITATION, FANCY FREE..."
THIS IS A FIT STARTING POINT TO DISCUSS MYSTICISM;
IT DOES NOT GET STARTED WITHOUT EROTICISM.
Rain touches the roots of a creeper: that happiness in the plant can be reproduced in the Muladhara Chakra within you: add to this a slight mystical eroticism to move the Kundalini.
This is one feeling in the range from Kundalini to Khecari.(from the bottom to the top of the vertical axis)
Eros is in the centre.
The singing of the cuckoos is vertical.
The elephants in rut are the horizon spatialized.
The Malaya breeze comes at flower time.
Eros operates best only under special circumstances - in springtime.
The arrow as a mango blossom: the sweet fruit is preceded by tender, magenta-coloured leaves:
that is where the process of horizontalization takes place in Nature:
you can see it in the flowering of the mango.
This is seen in the Purnakumbham offering, which is a brass pot full of water and wound with string, with a coconut on top, surrounded by mango leaves.
The singing of the cuckoos is vertical.
The elephants in rut are the horizon spatialized.
The Malaya breeze comes at flower time.
Eros operates best only under special circumstances - in springtime.
The arrow as a mango blossom: the sweet fruit is preceded by tender, magenta-coloured leaves:
that is where the process of horizontalization takes place in Nature:
you can see it in the flowering of the mango.
This is seen in the Purnakumbham offering, which is a brass pot full of water and wound with string, with a coconut on top, surrounded by mango leaves.
ANYTHING THAT ATTAINS TO THE O POINT CONQUERS THE WORLD.
The arrow means time's arrow.
The bow is made of flowers, the bowstring of bumblebees.
The bees are enjoyers - the flower bow is the enjoyed.
The arrow means time's arrow.
The bow is made of flowers, the bowstring of bumblebees.
The bees are enjoyers - the flower bow is the enjoyed.
P58
DARSANA MALA
Verse 9
Do not mix these up:
Jiva Jnanam: vital awareness.
Indriya Jnanam: sense awareness.
Do not mix these up:
Jiva Jnanam: vital awareness.
Indriya Jnanam: sense awareness.
Verse 10
You get certain knowledge, parajnanam, from the mantra "Aum Tat Sat". ("Aum, that (the absolute) is the existent")
This is only for contemplatives.
This is called ultimate awareness.
A parajnani is aware of something beyond, on the plus side.
A jnani understands subjectively.
You get certain knowledge, parajnanam, from the mantra "Aum Tat Sat". ("Aum, that (the absolute) is the existent")
This is only for contemplatives.
This is called ultimate awareness.
A parajnani is aware of something beyond, on the plus side.
A jnani understands subjectively.
Appraise the transcendental from the immanent, as a witness.
This is the strict Vedantic position.
Experience the truth like a gooseberry clutched in your hand.
This is the strict Vedantic position.
Experience the truth like a gooseberry clutched in your hand.
Every chapter is about the Absolute.
Chapter VI is not about overt action, but somewhat contemplative.
Chapter VII: reason is action, but more so, much more so.
It is action at a higher frequency.
Narayana Guru distinguishes only four kinds: he applies Occam's Razor.
Chapter VI is not about overt action, but somewhat contemplative.
Chapter VII: reason is action, but more so, much more so.
It is action at a higher frequency.
Narayana Guru distinguishes only four kinds: he applies Occam's Razor.
CHAPTER VIII
VISION BY CONTEMPLATION
BHAKTI DARSANAM
VISION BY CONTEMPLATION
BHAKTI DARSANAM
The remaining chapters are going downhill and are not so difficult
Bhakti and Yoga can be treated together:
there is no real difference between them, more a difference of degree.
Bhakti is a kind of natural Yoga, a dog can have it;
Yoga is more advanced.
There are two Yogas: Jnana Yoga and Karma Yoga.
This distinction is also to be abolished and treated as one -
the two names meet in Advaita. See the Bhagavad Gita.
Bhakti: there is no acceptable text for this Darsana.
It is more demonstrative and appeals to the mind of the public:
they do not abolish paradox, but want to remain caught in it.
The Gita Govindam is a textbook for Bengali Bhaktas.
What is the legitimate way of treating Bhakti?
We can put the Absolute, the object of devotion, at the Omega, O or Alpha points.
No excesses.
"I am very humble, but I have a master who is very proud":
this is the proper cancellation, no unilateral Bhakti is permitted.
Sankara recommends Bhakti as the most superior way to liberation:
but contemplate the Self within yourself.
there is no real difference between them, more a difference of degree.
Bhakti is a kind of natural Yoga, a dog can have it;
Yoga is more advanced.
There are two Yogas: Jnana Yoga and Karma Yoga.
This distinction is also to be abolished and treated as one -
the two names meet in Advaita. See the Bhagavad Gita.
Bhakti: there is no acceptable text for this Darsana.
It is more demonstrative and appeals to the mind of the public:
they do not abolish paradox, but want to remain caught in it.
The Gita Govindam is a textbook for Bengali Bhaktas.
What is the legitimate way of treating Bhakti?
We can put the Absolute, the object of devotion, at the Omega, O or Alpha points.
No excesses.
"I am very humble, but I have a master who is very proud":
this is the proper cancellation, no unilateral Bhakti is permitted.
Sankara recommends Bhakti as the most superior way to liberation:
but contemplate the Self within yourself.
P59
Verse 1
Bhakti is meditation on your own personality, or Self, under the aegis of the Absolute.
The soul is the dearest thing within a human being.
The kingdom of God is within you.
The Self is the dearest of values.
"Seek within".
Bhakti is meditation on your own personality, or Self, under the aegis of the Absolute.
The soul is the dearest thing within a human being.
The kingdom of God is within you.
The Self is the dearest of values.
"Seek within".
Verse 2
Here there is a change from Atman, the self to Brahman, the absolute. It is full of bliss.
Ananda (bliss) is the value-content of the Absolute.
All truth has a value-content.
Here there is a change from Atman, the self to Brahman, the absolute. It is full of bliss.
Ananda (bliss) is the value-content of the Absolute.
All truth has a value-content.
Verse 3
Think of happiness - bliss is the value-content of the Absolute
All truth has a value-content
Think of happiness - bliss is the value-content of the Absolute
All truth has a value-content
Verse 4
Bhakti is defined by the Atman because one worships one's own Self.
Bhakti is defined by the Atman because one worships one's own Self.
Verse 5
Ananda - Brahman - Atman (bliss. The absolute and the self): these all mean the same thing.
Ananda - Brahman - Atman (bliss. The absolute and the self): these all mean the same thing.
Verse 6
Have this unitive vision sustained: this is the true state of the bhakta (worshipper).
One in this state will be well known as a contemplative.
Have this unitive vision sustained: this is the true state of the bhakta (worshipper).
One in this state will be well known as a contemplative.
Verse 7
Wife and husband are included here, as with Yajnyavalkya the Upanishadic guru and his wife Maitreyi
Both are put together into a circle which is dear to them:
"for the sake of the Self, we love each other".
There is no unilateral love or statements of love.
Wife and husband are included here, as with Yajnyavalkya the Upanishadic guru and his wife Maitreyi
Both are put together into a circle which is dear to them:
"for the sake of the Self, we love each other".
There is no unilateral love or statements of love.
Verse 8
Bhakti is when you feel the joy of the soul everywhere.
This is Saundarya as a value.
Atma sukham or Self-Bliss.
Bhakti is when you feel the joy of the soul everywhere.
This is Saundarya as a value.
Atma sukham or Self-Bliss.
Verses 9 and 10
This is a review of all kinds of Bhakti: the Father in Heaven, Spiritual Teacher, etc.
There is a graded order: the father "there", those who walk the path of truth "here".
This is a review of all kinds of Bhakti: the Father in Heaven, Spiritual Teacher, etc.
There is a graded order: the father "there", those who walk the path of truth "here".
P60
CHAPTER IX
VISION BY MEDITATION
YOGA DARSANAM
VISION BY MEDITATION
YOGA DARSANAM
Only one Mudra (gesture, practice) is given here by Narayana Guru as a positive discipline.
The Asanas (physical practice) are thus left out by him.
Patanjali only mentions one Asana as being required: sitting straight.
The object is to forget your posture completely:
the Yogi should have one Asana, at which he is so well-practised that he can sit still and forget his body.
He should be able to sit for three hours.
Pranayama: (breath control): the essence is found in the Gita:
"Forget to know whether you are breathing in or out - you are cancelled out".
Narayana Guru here presents his revised version of Yoga, as properly understood in Vedanta.
Wilful austerities are for Sudras only: there are respectable Sastras and texts.
The Asanas (physical practice) are thus left out by him.
Patanjali only mentions one Asana as being required: sitting straight.
The object is to forget your posture completely:
the Yogi should have one Asana, at which he is so well-practised that he can sit still and forget his body.
He should be able to sit for three hours.
Pranayama: (breath control): the essence is found in the Gita:
"Forget to know whether you are breathing in or out - you are cancelled out".
Narayana Guru here presents his revised version of Yoga, as properly understood in Vedanta.
Wilful austerities are for Sudras only: there are respectable Sastras and texts.
Verse 1
Yoga joins the mind with the reasoning Self, and gets united with it.
The second part is Narayana Guru's addition; horizontal and vertical are joining.
Restraining is Horizontal.
Joining is vertical.
Yoga joins the mind with the reasoning Self, and gets united with it.
The second part is Narayana Guru's addition; horizontal and vertical are joining.
Restraining is Horizontal.
Joining is vertical.
Verse 2
The object of meditation is to abolish and verticalize these three: seer, sight and seen.
The object of meditation is to abolish and verticalize these three: seer, sight and seen.
Verse 3
Abolish all multiplicity of name and form - give them conceptual form.
When all plurality is abolished in the vertical, you get Yoga.
Abolish all multiplicity of name and form - give them conceptual form.
When all plurality is abolished in the vertical, you get Yoga.
Verse 4
Yogis have a principle of continuity - the streak is not to be broken.
Yogis have a principle of continuity - the streak is not to be broken.
Verse 5
Pull the mind back if it goes to another subject or association.
Bring it back from horizontal tangential side-tracks.
Pull the mind back if it goes to another subject or association.
Bring it back from horizontal tangential side-tracks.
Verses 6 and 7
The expert understands the outgoing will as having to be merged into the vertical will. Pluck outside interests and burn them in your consciousness.
The expert understands the outgoing will as having to be merged into the vertical will. Pluck outside interests and burn them in your consciousness.
P61
Verse 8
The bee does not move when it enjoys the best:
that is the state of Yoga - forget yourself.
The bee does not move when it enjoys the best:
that is the state of Yoga - forget yourself.
Verse 9
Kechari Mudra: "moving in the sky" - this is a top secret of the Yogis.
Levitation in psychophysical space, which is vectorial or qualitative.
Kechari Mudra: "moving in the sky" - this is a top secret of the Yogis.
Levitation in psychophysical space, which is vectorial or qualitative.
Verse 10
Jnana and Karma.
Jnana and Karma.
CHAPTER X
VISION OF ABSORBTION
NIRVANA DARSANAM
VISION OF ABSORBTION
NIRVANA DARSANAM
Here, we are in the eschatological context.
This is the last jewel in the garland.
We must end where we began: coming in (Chapter I) is reciprocal to going out (Chapter X).
This is the last jewel in the garland.
We must end where we began: coming in (Chapter I) is reciprocal to going out (Chapter X).
.
Going out of this world is like a lamp going out without oil,
or a dewdrop sinking into the sea, as with the Buddhists.
Here, we take a more scientific approach.
This is the final form of spirituality, the final trick.
Thus this Darsana touches the same ground as Chapter I.
A dying man, not physiologically dying, but the spiritual man.
The implications of death are seen contemplatively.
Eschatology is the contemplative term of life.
One who attains Nirvana: how does he act?
Narayana Guru enumerates the kinds of Nirvana
but with peculiarities that seem to be gross.
or a dewdrop sinking into the sea, as with the Buddhists.
Here, we take a more scientific approach.
This is the final form of spirituality, the final trick.
Thus this Darsana touches the same ground as Chapter I.
A dying man, not physiologically dying, but the spiritual man.
The implications of death are seen contemplatively.
Eschatology is the contemplative term of life.
One who attains Nirvana: how does he act?
Narayana Guru enumerates the kinds of Nirvana
but with peculiarities that seem to be gross.
P62
Verse 1
"Pure" is not conditioned.
"Impure" is conditioned by instincts.
"Impure" is conditioned by instincts.
Verse 2
Then he divides it into pure and extra pure,
into pure-impure and impure-impure.
Then he divides it into pure and extra pure,
into pure-impure and impure-impure.
Verse 3
Extra pure is divided into: elect, more elect, and most elect.
Pure is the simple or normalised knower of the Self.
Extra pure is divided into: elect, more elect, and most elect.
Pure is the simple or normalised knower of the Self.
Verse 4
Pure-impure desires liberation and impure-impure desires Siddhis or psychic powers.
Finally "my" devotee will never be destroyed - so you feed every swami (ascetic), even if he is a bad swami - God will cancel him, not you.
You must credit him with his intentions.
Pure-impure desires liberation and impure-impure desires Siddhis or psychic powers.
Finally "my" devotee will never be destroyed - so you feed every swami (ascetic), even if he is a bad swami - God will cancel him, not you.
You must credit him with his intentions.
Verse 5
The normal Brahmavid (Brahman-knower) does action according to what is right:
This is the first rung.
He is wandering because he has some vitality left.
The normal Brahmavid (Brahman-knower) does action according to what is right:
This is the first rung.
He is wandering because he has some vitality left.
Verse 6
The superior knower of Brahman is the Brahmavidvarah.
There is no social service here, he is beyond that, and he is a superior man.
Social work is only permitted to the beginner.
The superior knower of Brahman is the Brahmavidvarah.
There is no social service here, he is beyond that, and he is a superior man.
Social work is only permitted to the beginner.
Verse 7
The Variyan does not eat unless told to or reminded to.
The Variyan does not eat unless told to or reminded to.
Verse 8
"Here is food - eat it!" - "I do not know this food- eat it yourself or take it away".
"Here is food - eat it!" - "I do not know this food- eat it yourself or take it away".
Verse 9
Reject or accept nothing.
Be neutral - that is Nirvana.
Balanced between yes and no.
Interest is in the Self.
The conclusion of this Darsana is here.
Reject or accept nothing.
Be neutral - that is Nirvana.
Balanced between yes and no.
Interest is in the Self.
The conclusion of this Darsana is here.
Verse 10
Avoid any duality - withdraw.
"He does not return again".
To gain freedom from duality in the final term.
"I am as ready to die as to live": this is complete neutrality.
The final conclusion of the whole work is here.
Avoid any duality - withdraw.
"He does not return again".
To gain freedom from duality in the final term.
"I am as ready to die as to live": this is complete neutrality.
The final conclusion of the whole work is here.
P63
CONTINUATION OF THE COMMENTARY ON KALIDASA'S SHAKUNTALA
END OF ACT I
END OF ACT I
.
The power of the King is bright and derived from the Numerator side.
Shakuntala gets caught in a tree, while the others fall faster.
She says: "I am an ontological reality, why do you (illegible: "plore"? ED) for me?"
The King derives his power from the sun and moon.
"Holding hair": keeping a connection with the Numerator side: she is trying.
She is naturally falling down, but the tree is holding her.
The two plants to be watered means two children.
Water is at the Alpha point.
Perspiration is cancelling the Sirisa flower.
She is panting, in a completely negative state.
Her red hands mean that she is completely healthy - it is not due to bad health.
You have to worship the elephant to calm the situation.
The horizontal zone is forgetfulness. Memory is vertical.
The whole mistake was when the King came to the ashram.
The King kills deer, why come to the ashram?
Shakuntala is like a deer.
The drooping Sirisa flower means unhappiness - a negative suffering.
If the Devi's eyebrows vibrated, Shakuntala would be lifted up.
Shakuntala gets caught in a tree, while the others fall faster.
She says: "I am an ontological reality, why do you (illegible: "plore"? ED) for me?"
The King derives his power from the sun and moon.
"Holding hair": keeping a connection with the Numerator side: she is trying.
She is naturally falling down, but the tree is holding her.
The two plants to be watered means two children.
Water is at the Alpha point.
Perspiration is cancelling the Sirisa flower.
She is panting, in a completely negative state.
Her red hands mean that she is completely healthy - it is not due to bad health.
You have to worship the elephant to calm the situation.
The horizontal zone is forgetfulness. Memory is vertical.
The whole mistake was when the King came to the ashram.
The King kills deer, why come to the ashram?
Shakuntala is like a deer.
The drooping Sirisa flower means unhappiness - a negative suffering.
If the Devi's eyebrows vibrated, Shakuntala would be lifted up.
.
Shakuntala has the fatigue of a woman who is not married.
The Sirisa flower's glow is disturbed - it is numerator and disturbed by the denominator perspiration.
The flower is not happy, because she is unhappy inside.
She is almost like a dying person, she is panting.
Do not ask her not to get married.
There is delicately woven language here;
2 plants = 2 children
2 pots = 2 breasts
2 waters = 2 milks
The Sirisa flower's glow is disturbed - it is numerator and disturbed by the denominator perspiration.
The flower is not happy, because she is unhappy inside.
She is almost like a dying person, she is panting.
Do not ask her not to get married.
There is delicately woven language here;
2 plants = 2 children
2 pots = 2 breasts
2 waters = 2 milks
P64
The most important thing is that nobody asks Shakuntala what she wants.
She has to say, "do not settle my debts"
Who is concerned with Gomati's happiness?
A civil suit for debt allows the King to enter the dispute.
She has to say, "do not settle my debts"
Who is concerned with Gomati's happiness?
A civil suit for debt allows the King to enter the dispute.
The signet ring - the two friends see and read it: this is the horizontal conventional world of the King:
Shakuntala does not see it.
Does she feel towards me as I feel towards her?
She pretends not to listen, but hears every word;
though her body is turned away from the object of interest, her eyes and ears are really interested.
So there is a link: there is ground for hope.
This is the same as the deer turning, but this is a verticalized version.
Then the hermits' voices are heard: here the horizontal is inserted again.
The peaceful aspect of the Ashram is disturbed.
The dust is horizontal, the Sanyasis' cloth is vertical: put them together.
The dust becomes a patch of colour - take LSD.
Twilight scene = magenta = Absolute.
Shakuntala does not see it.
Does she feel towards me as I feel towards her?
She pretends not to listen, but hears every word;
though her body is turned away from the object of interest, her eyes and ears are really interested.
So there is a link: there is ground for hope.
This is the same as the deer turning, but this is a verticalized version.
Then the hermits' voices are heard: here the horizontal is inserted again.
The peaceful aspect of the Ashram is disturbed.
The dust is horizontal, the Sanyasis' cloth is vertical: put them together.
The dust becomes a patch of colour - take LSD.
Twilight scene = magenta = Absolute.
There are two magentas: the Sanyasis' cloth is vertical, and the dust and sunset are horizontal.
The King's officers search for him: there is a conflict of horizontal and vertical interests.
The two friends say: "We are afraid, we are going back"
"Honoured by the sight of you" this is the perceptual side, not words.
Shakuntala is caught: "Wait until I loosen it" - delays.
The King's officers search for him: there is a conflict of horizontal and vertical interests.
The two friends say: "We are afraid, we are going back"
"Honoured by the sight of you" this is the perceptual side, not words.
Shakuntala is caught: "Wait until I loosen it" - delays.
"A banner against the wind": "I am related to the vertical, the heart, not to the horizontal body".
She is not interested in horizontal movement, but respects the reciprocity of the two movements - vertical.
This is the reciprocity of horizontal movement (see Bergson).
End of Act I.
She is not interested in horizontal movement, but respects the reciprocity of the two movements - vertical.
This is the reciprocity of horizontal movement (see Bergson).
End of Act I.
.
(The following notes will cover these scenes again, for clarification of the schema and re-examination.)
P65
From Shakuntala about to go away.
.
Shakuntala wants to leave but Priyamvada "forces her back":
She says she has a "debt" of two plants to water.
The King will pay back the debt:
Kalidasa wants to give an ordinary, conventional scene; the ordinary,
the horizontal axis is here exposed.
Physical fatigue.
Einstein will be brought in later.
The King desires to give her a ring: he wants to pay wages for labour; the ring has some value.
He is a gentleman, as well as a King.
Reading the signet ring absolves from the debt.
"Who are you to send me away or hold me back? You are bargaining as if in a market-place or in a bank; I am real, existential."
Eyes and ears: a perfect picture of reciprocity - she turns away
- and yet still looks by side-glances and listens with her ears.
The alarm is sounded: untrained elephants are raising havoc -
horizontal values are prevailing.
She says she has a "debt" of two plants to water.
The King will pay back the debt:
Kalidasa wants to give an ordinary, conventional scene; the ordinary,
the horizontal axis is here exposed.
Physical fatigue.
Einstein will be brought in later.
The King desires to give her a ring: he wants to pay wages for labour; the ring has some value.
He is a gentleman, as well as a King.
Reading the signet ring absolves from the debt.
"Who are you to send me away or hold me back? You are bargaining as if in a market-place or in a bank; I am real, existential."
Eyes and ears: a perfect picture of reciprocity - she turns away
- and yet still looks by side-glances and listens with her ears.
The alarm is sounded: untrained elephants are raising havoc -
horizontal values are prevailing.
Act II begins.
Enter Vidusaka (the buffoon): he is the embodiment of sarcastic wit:
he is bitter and dissatisfied with everything.
We should take the value-content of what he says.
He leans on his staff, feigning paralysis.
He represents a sterile world, the opposite of Shakuntala.
Enter Vidusaka (the buffoon): he is the embodiment of sarcastic wit:
he is bitter and dissatisfied with everything.
We should take the value-content of what he says.
He leans on his staff, feigning paralysis.
He represents a sterile world, the opposite of Shakuntala.
.
The conceptual world is sterile and empty of content: there is no Omega point.
No shade, some water, no sleep, wakened by the sons of the slave-girls
(hard work, activity), his joints are painful.
He belongs to one right angle of the scheme.
He is leaning on a staff - this is the structural key.
The King is on the horizontal axis with the tiger, bear, deer, the sons of the slave-girls, Yavanas, girls, etc.
The King's speech: a man in love interprets everything with himself as a reference.
You can guess from this that he is in love.
Fat hips: this is the negative vertical representing the feminine psyche.
No shade, some water, no sleep, wakened by the sons of the slave-girls
(hard work, activity), his joints are painful.
He belongs to one right angle of the scheme.
He is leaning on a staff - this is the structural key.
The King is on the horizontal axis with the tiger, bear, deer, the sons of the slave-girls, Yavanas, girls, etc.
The King's speech: a man in love interprets everything with himself as a reference.
You can guess from this that he is in love.
Fat hips: this is the negative vertical representing the feminine psyche.
P66
.
All love affairs are a reciprocity of the vertical axis.
The law of reciprocity is like the law of gravity - there is bipolarity.
He is abstracting and generalising about all people anywhere who are in love:
he is sure to use himself as a reference and invert with one-to-one correspondence.
"She is behaving with complementarity and reciprocity to my mind."
So there is one-to-one correspondence with four aspects.
The relationship is perfectly vertical.
The Vidusaka goes on to cross the horizontal - with its own quaternion.
The law of reciprocity is like the law of gravity - there is bipolarity.
He is abstracting and generalising about all people anywhere who are in love:
he is sure to use himself as a reference and invert with one-to-one correspondence.
"She is behaving with complementarity and reciprocity to my mind."
So there is one-to-one correspondence with four aspects.
The relationship is perfectly vertical.
The Vidusaka goes on to cross the horizontal - with its own quaternion.
.
"Pimple on a boil" he is mocking the King for seeing only the surface, the plus side
- which will cause suffering.
He is not aware of the negative side of Shakuntala
- which will cause suffering.
He is not aware of the negative side of Shakuntala
The reciprocity between the King and Shakuntala is based only on eyes and ears - this is the vertical reciprocity: there is a perfect bipolarity
- her hips are heavy, his are light.
Shakuntala is rich in negative emotional content.
The King and Shakuntala turn in opposite directions: this is a secret;
the bee and the lotus turn in opposite directions, this is reciprocity.
The hips are compensation,
There is cancellability between the eyes and ears - this is a figure eight.
- her hips are heavy, his are light.
Shakuntala is rich in negative emotional content.
The King and Shakuntala turn in opposite directions: this is a secret;
the bee and the lotus turn in opposite directions, this is reciprocity.
The hips are compensation,
There is cancellability between the eyes and ears - this is a figure eight.
The Vidusaka does not move. The essence of humour is horizontal conflict.
His humour is always against someone, always sarcastic.
The reed bends: "I am caught in the same situation, the same stream, as you."
"Let the buffalo plunge..."
this marks the transition from the horizontal to the vertical.
A sudden lassitude overtakes the King, his mind goes from the horizontal to the Negative vertical.
"Anyway, the deer look at me with eyes like Shakuntala's."
The horizontal is abolished through true love.
The deer and Shakuntala both look at the King:
one is horizontal, the other vertical.
He cannot kill them, they turn their heads to look at him in the same way as Shakuntala: vertically, fear becomes love.
Buffaloes etc: there are three animals mentioned.
Let them come into the natural order.
The bowstring is loosened and becomes vertical.
His humour is always against someone, always sarcastic.
The reed bends: "I am caught in the same situation, the same stream, as you."
"Let the buffalo plunge..."
this marks the transition from the horizontal to the vertical.
A sudden lassitude overtakes the King, his mind goes from the horizontal to the Negative vertical.
"Anyway, the deer look at me with eyes like Shakuntala's."
The horizontal is abolished through true love.
The deer and Shakuntala both look at the King:
one is horizontal, the other vertical.
He cannot kill them, they turn their heads to look at him in the same way as Shakuntala: vertically, fear becomes love.
Buffaloes etc: there are three animals mentioned.
Let them come into the natural order.
The bowstring is loosened and becomes vertical.
.
.
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Unstring the bow and it becomes vertical.
The hermits have fire: this is a laser ray.
There is a stone like a lens, which is pleasant to touch,
but which can burn when exposed to the sun's rays.
Thus, the ashram is quiet, but do not think there is no fire there.
If the horizontal fire falls on it, it will vomit vertical death rays.
This is a reference to Tapas.
The hermits have fire: this is a laser ray.
There is a stone like a lens, which is pleasant to touch,
but which can burn when exposed to the sun's rays.
Thus, the ashram is quiet, but do not think there is no fire there.
If the horizontal fire falls on it, it will vomit vertical death rays.
This is a reference to Tapas.
P67
"Son of a slave-girl" means "born out of necessity".
"I am not able to bend this strung bow, with the arrow fixed upon it,
against the fawns, who, abiding with my darling, have taught her those beautiful glances. When I think of Kanva's daughter, I have little relish for hunting, for...."
against the fawns, who, abiding with my darling, have taught her those beautiful glances. When I think of Kanva's daughter, I have little relish for hunting, for...."
Horizontal deer are looking back at the arrows in the opening scene.
Vertical Shakuntala is looking back at the King.
Vertical Shakuntala is looking back at the King.
The King and Vidusaka are sitting on a slab - the stage has been cleared.
Spirituality succeeds by a logarithmic spiral.
Spirituality succeeds by a logarithmic spiral.
.
The creeper means Shakuntala.
The King has a positive and a negative side.
The Vidusaka has only an actual positive side - chocolates.
The Vidusaka tries to obstruct the King with conventional arguments.
Conventional men always obstruct true love.
The King: "I am talking about Shakuntala: speak as directly as possible - no phoney rhetoric."
Sun Plant: two plants are compared, one is more hypostatic.
Date - Tamarind: the comparison is like that between an insipid Parsi woman and an earthy Marathi coolie girl.
The Drawing: at first it is mathematical, then the outline is filled in by the creator.("A scheme in the mind of the creator")
The King has a positive and a negative side.
The Vidusaka has only an actual positive side - chocolates.
The Vidusaka tries to obstruct the King with conventional arguments.
Conventional men always obstruct true love.
The King: "I am talking about Shakuntala: speak as directly as possible - no phoney rhetoric."
Sun Plant: two plants are compared, one is more hypostatic.
Date - Tamarind: the comparison is like that between an insipid Parsi woman and an earthy Marathi coolie girl.
The Drawing: at first it is mathematical, then the outline is filled in by the creator.("A scheme in the mind of the creator")
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1. Make an outline sketch -NUMERATOR
2. Give it content -DENOMINATOR
This is in keeping with the Upanishadic version of creation.
2. Give it content -DENOMINATOR
This is in keeping with the Upanishadic version of creation.
The beauty of Shakuntala is described negatively in a classical verse:
"a flower unsmelt, in itself, by and through itself" - before duality.
This is Absolute Beauty, by definition.
Shakuntala's eyes and smile: this is a paradox:
the smiles are for another reason than love: i.e. she is hiding love.
"Caught": the grass is the arrow - from below.
The numerator side dress is also entangled (suppose);
She is seeking imaginary reasons for staying.
"a flower unsmelt, in itself, by and through itself" - before duality.
This is Absolute Beauty, by definition.
Shakuntala's eyes and smile: this is a paradox:
the smiles are for another reason than love: i.e. she is hiding love.
"Caught": the grass is the arrow - from below.
The numerator side dress is also entangled (suppose);
She is seeking imaginary reasons for staying.
P67
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The obstruction of the garment is a false pretext for turning.
The King is the centre of attraction.
Here the garment is an excuse for not going away.
The King is the centre of attraction.
Here the garment is an excuse for not going away.
The hermits give a sixth part of piety: there are no taxes for them: they meditate.
They are a vertical value for the Kingdom, surplus value.
Enter the hermit boys: they pay compliments to the king as having a very high Numerator Value.
He is austere in that his treasures are for the General Good.
The King is compared to a Muni (sage), and says that they are both the same: this is Advaita.
The King controls his subjects - the Muni controls his senses.
Structurally they are the same: this is Advaita.
If they are placed in their proper perspectives, they are the same.
They are a vertical value for the Kingdom, surplus value.
Enter the hermit boys: they pay compliments to the king as having a very high Numerator Value.
He is austere in that his treasures are for the General Good.
The King is compared to a Muni (sage), and says that they are both the same: this is Advaita.
The King controls his subjects - the Muni controls his senses.
Structurally they are the same: this is Advaita.
If they are placed in their proper perspectives, they are the same.
ADDHYA KRANTA VASATIRAMUNAPYASRAME SARVABHOGYE
RAKSHAYOGADAYAMAPI TAPA PRATYAHAM SANCHINOTI
ADYAPI DYAM SPRISATI VASIANASCHARANADVANDVA GITA
PUNYAHA SABDO MUNIRITI MUHUH KEVALAM RAJAPURVAHA
RAKSHAYOGADAYAMAPI TAPA PRATYAHAM SANCHINOTI
ADYAPI DYAM SPRISATI VASIANASCHARANADVANDVA GITA
PUNYAHA SABDO MUNIRITI MUHUH KEVALAM RAJAPURVAHA
The Kingdom is also self-sufficient - like an ashram.
This is a horizontal forest - the ashram is a vertical forest.
All values are found within this magic circle.
Because he cares for the subjects, he is doing Tapas (practising renunciation) every day.
"Even today, two birds sing his praises in heaven, because he holds everything in his control".
He is the master of himself and thus he the same function structurally as a Muni.
The apparent difference between contemplation and politics is abolished.
This is a horizontal forest - the ashram is a vertical forest.
All values are found within this magic circle.
Because he cares for the subjects, he is doing Tapas (practising renunciation) every day.
"Even today, two birds sing his praises in heaven, because he holds everything in his control".
He is the master of himself and thus he the same function structurally as a Muni.
The apparent difference between contemplation and politics is abolished.
P68
Up to this point there are three references to the bodice hurting.
They must be located schematically :
They must be located schematically :
Shakuntala is verticalized in the tree - the tree is a vertical axis.
Anasuya is next.
Priyamvada is the most conventional.
Anasuya is next.
Priyamvada is the most conventional.
The King has loosened the bowstring - that is, he has verticalized.
He interprets what she does with reference to himself;
he wants to establish an equation between the Self and the non-Self.
Shakuntala is leaving: the tree and the thorn are imaginary.
He interprets what she does with reference to himself;
he wants to establish an equation between the Self and the non-Self.
Shakuntala is leaving: the tree and the thorn are imaginary.
The Hermits: "O, joy...."
The King represents the complementary counterpart of the hermits:
this is imaginary benefit in the vertical axis.
It is a great event: all the great numerator values belong to the King, they are complementary.
The poor Denominator cancels out against the rich Numerator.
(give the superintendent of police a chair in the ashram)
"Render unto Caesar that which is Caesar's..."
Here are two economic worlds existing without conflict
The King represents the complementary counterpart of the hermits:
this is imaginary benefit in the vertical axis.
It is a great event: all the great numerator values belong to the King, they are complementary.
The poor Denominator cancels out against the rich Numerator.
(give the superintendent of police a chair in the ashram)
"Render unto Caesar that which is Caesar's..."
Here are two economic worlds existing without conflict
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The surplus value of Munis (sages) is their Tapas (penance), one sixth of it goes to the King
The surplus value of the king goes to the Omega point with the birds.
One sixth is the surplus value; the glory of a king's crown is a compliment to the servant.
A sum of money from the welfare state is another matter - horizontal and ordinary.
One sixth is the surplus value; the glory of a king's crown is a compliment to the servant.
A sum of money from the welfare state is another matter - horizontal and ordinary.
The praise of the King: (see previous page)
The general good and the good of all are secured: they are open to everyone.
The King and the people both use an umbrella: this is qualitative equality.
He is looking at the people quantitatively and qualitatively.
He is living from day to day, serving the vertical axis.
Penance is the surplus value.
So there is mutual admiration between two economic systems: abundancist and opulencist.
The King is free of passion, though vertically in love with Shakuntala.
The first hermit is qualitative, the second hermit is quantitative; but they agree.
The second is talking about geography and battles; the kingdom girded by the ocean.
This is a circle, a peripheral limit, while the first refers to the vertical axis.
This is a horizontal circle protecting the frontiers: - boundaries are important.
Indra's thunderbolt is vertical.
The general good and the good of all are secured: they are open to everyone.
The King and the people both use an umbrella: this is qualitative equality.
He is looking at the people quantitatively and qualitatively.
He is living from day to day, serving the vertical axis.
Penance is the surplus value.
So there is mutual admiration between two economic systems: abundancist and opulencist.
The King is free of passion, though vertically in love with Shakuntala.
The first hermit is qualitative, the second hermit is quantitative; but they agree.
The second is talking about geography and battles; the kingdom girded by the ocean.
This is a circle, a peripheral limit, while the first refers to the vertical axis.
This is a horizontal circle protecting the frontiers: - boundaries are important.
Indra's thunderbolt is vertical.
P69
The King rises when the hermits enter, he says:
"What is your command? I am the servant of the Ashram"
The descendants of Puru (i.e. kings) are officiating priests for the distressed.
The same function - sacrifice to the Absolute - is performed both by the King and by the hermits.
"What is your command? I am the servant of the Ashram"
The descendants of Puru (i.e. kings) are officiating priests for the distressed.
The same function - sacrifice to the Absolute - is performed both by the King and by the hermits.
At the end of the act: there is a barrier, revealed by Kalidasa,
but the verticality of the King and Shakuntala is so absolute that all other arguments fall away.
but the verticality of the King and Shakuntala is so absolute that all other arguments fall away.
"Both speak": this means that there is perfect parity between them.
They will fly up in a spiral to the top of a dome where the two birds are praising the vertical axis.
In another verse, the eyes and ears of Shakuntala also have this parity;
WHEN A MAN IN LOVE SEES A WOMAN, WHAT HE REALLY SEES IS HIS OWN SELF.
"KAMI SWATAM PASYATI" - A MAN IN LOVE HIS OWN SELF SEES
Two voices at the bottom - two birds at the top.
At the Omega point, there is just light;
a little lower and there is Indra's thunderbolt; below that and there is the completely horizontal pulling of the bowstring to the shoulder to protect the borders of the country.
He invites the King and the charioteer because the charioteer is the lift-driver for going up the vertical axis.
"Putra pinda palana" - protecting the lump of matter that will develop in the womb into a child: so this is a reflection of what will happen in the ashram.
They will fly up in a spiral to the top of a dome where the two birds are praising the vertical axis.
In another verse, the eyes and ears of Shakuntala also have this parity;
WHEN A MAN IN LOVE SEES A WOMAN, WHAT HE REALLY SEES IS HIS OWN SELF.
"KAMI SWATAM PASYATI" - A MAN IN LOVE HIS OWN SELF SEES
Two voices at the bottom - two birds at the top.
At the Omega point, there is just light;
a little lower and there is Indra's thunderbolt; below that and there is the completely horizontal pulling of the bowstring to the shoulder to protect the borders of the country.
He invites the King and the charioteer because the charioteer is the lift-driver for going up the vertical axis.
"Putra pinda palana" - protecting the lump of matter that will develop in the womb into a child: so this is a reflection of what will happen in the ashram.
.
"Putra pinda palana"
Solves a problem schematically.
A paradox is resolved here.
The King says what to do - the Vidusaka says to stay suspended between them.
There are two rival duties to be performed.
The King tells the Vidusaka to go, as he has been treated as a son.
Thus the mother is given the status of the queen, who is kind even to a servant.
Solves a problem schematically.
A paradox is resolved here.
The King says what to do - the Vidusaka says to stay suspended between them.
There are two rival duties to be performed.
The King tells the Vidusaka to go, as he has been treated as a son.
Thus the mother is given the status of the queen, who is kind even to a servant.
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P70
The Vidusaka is not really afraid of demons - these are negative demons - not sent from heaven.
This refers to some kind of reciprocity between son and servant,
between Shakuntala and the demons: "we are doing the same thing"
There are stages in abolishing a paradox, only at the fourth stage do you abolish it
- but a proper methodology is needed to get there.
The King: "do not think am serious about loving Shakuntala".
So, there are three worlds of rivalry between them.
This refers to some kind of reciprocity between son and servant,
between Shakuntala and the demons: "we are doing the same thing"
There are stages in abolishing a paradox, only at the fourth stage do you abolish it
- but a proper methodology is needed to get there.
The King: "do not think am serious about loving Shakuntala".
So, there are three worlds of rivalry between them.
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King and Vidusaka are both sons, this is a paradox
Shakuntala or mother? The King says both.
The third world is the world of absurdity and jokes.
Shakuntala or mother? The King says both.
The third world is the world of absurdity and jokes.
End of Act II: the King tries to neutralise the whole situation.
Where are we? - On the numerator side - "where are those who live with fawns, strangers to love?"
"Parocha mantritta" - means Kama (Eros) goes to the conceptual side.
Where are we? - On the numerator side - "where are those who live with fawns, strangers to love?"
"Parocha mantritta" - means Kama (Eros) goes to the conceptual side.
Paradox - the King cancels at the third dimension by a joke.
This is not a complete fourth-dimensional cancellation.
Fourth dimensional - hence the ceremony will be held in the fourth dimension.
Trisanka was pushed up by his guru, Visvamitra, but pushed down by Indra, again and again.
Finally Indra created a third world between heaven and earth:
then he compromised and admitted him to heaven, no third platform.
Two are good, but not three.
Thus he is sometimes suspended in a third world - no game, absurd.
This is not a complete fourth-dimensional cancellation.
Fourth dimensional - hence the ceremony will be held in the fourth dimension.
Trisanka was pushed up by his guru, Visvamitra, but pushed down by Indra, again and again.
Finally Indra created a third world between heaven and earth:
then he compromised and admitted him to heaven, no third platform.
Two are good, but not three.
Thus he is sometimes suspended in a third world - no game, absurd.
No sitting on the football - there is no stable third platform.
ACT III
Enter disciple of the chief hotri. (sacrificial priest)
Draw a circle and mark the centre: this is a Vedic circle inside the Jaina circle.
Now we are nearer to the inner altar.
These are the concentric circles of the Sri Chakra.
Vedism is going to be revised in the light of Vedanta.
Note here that the King has the power of driving away poltergeists.
Spirits thrive on negativity and loneliness, they need a world in which negativity can thrive.
Vedism runs contrary to this: bathing, a clean altar, ashes, etc.
Enter disciple of the chief hotri. (sacrificial priest)
Draw a circle and mark the centre: this is a Vedic circle inside the Jaina circle.
Now we are nearer to the inner altar.
These are the concentric circles of the Sri Chakra.
Vedism is going to be revised in the light of Vedanta.
Note here that the King has the power of driving away poltergeists.
Spirits thrive on negativity and loneliness, they need a world in which negativity can thrive.
Vedism runs contrary to this: bathing, a clean altar, ashes, etc.
P71
Prelude - he is mixing three circles:
A Vedic circle
Kanva's circle
Shakuntala's circle.
A Vedic circle
Kanva's circle
Shakuntala's circle.
Kusa grass is something that pricks and is to be scattered around the Vedic altar.
Shakuntala is suffering from exposure to the sun of Dusyanta - the girls soothe her with lotus leaves and ointment (hypostatic) to be sent through Gautami.
Gautami is the intermediary between Shakuntala and the boys.
Veda - numerator water and Ayurveda - denominator oils combine to cure her.
The lotus leaf is the surface of the skin;
The stalk is the nervous system.
Looking at the King was a sudden glare, which she could not take.
As in the Greek myth, where Artemis bathing must not be looked at, or the hunter will die.
Pathological disease has its origin in friendship or passion,
It affects the whole body (and personality): there are two cures:
sprinkle holy water, give consolation to the body - lotus leaves and unguents for the nervous system and for the surface of the body.
This is the treatment outlined here.
Shakuntala is suffering from exposure to the sun of Dusyanta - the girls soothe her with lotus leaves and ointment (hypostatic) to be sent through Gautami.
Gautami is the intermediary between Shakuntala and the boys.
Veda - numerator water and Ayurveda - denominator oils combine to cure her.
The lotus leaf is the surface of the skin;
The stalk is the nervous system.
Looking at the King was a sudden glare, which she could not take.
As in the Greek myth, where Artemis bathing must not be looked at, or the hunter will die.
Pathological disease has its origin in friendship or passion,
It affects the whole body (and personality): there are two cures:
sprinkle holy water, give consolation to the body - lotus leaves and unguents for the nervous system and for the surface of the body.
This is the treatment outlined here.
The King banishes demons - his presence abolishes negativity in the Ashram.
Similarly, an ayurvedic doctor is supposed to wear many jewels when he visits the sick.
Anasuya and Priyamvada
- Priyamvada has the ointments,
- Anasuya gets the water and delivers it through Gautami.
You can heal the emotions with Mantras and the body with medicines.
Similarly, an ayurvedic doctor is supposed to wear many jewels when he visits the sick.
Anasuya and Priyamvada
- Priyamvada has the ointments,
- Anasuya gets the water and delivers it through Gautami.
You can heal the emotions with Mantras and the body with medicines.
Enter the King: "water on a slope"
You cannot go against the laws of nature, or gravitation.
In the world of necessity, obey the laws of nature.
He knows that Tapasvis (those who practice renunciation or tapas) have powers by representing Truth.
The power of penance: is called Ajña Shakti
Moonbeams and arrows: the moon is enjoyable, but not when one is affected by love.
"Flower arrows are like fire arrows to me".
"Cool moonbeams are like fire to me, increasing my passion."
Submarine fire: volcanic eruptions at the bottom of the sea.
You were burned on the numerator side - I am burned by the fire at the Alpha point.
There is a great fire at the Alpha point as well as at the Omega point.
You cannot go against the laws of nature, or gravitation.
In the world of necessity, obey the laws of nature.
He knows that Tapasvis (those who practice renunciation or tapas) have powers by representing Truth.
The power of penance: is called Ajña Shakti
Moonbeams and arrows: the moon is enjoyable, but not when one is affected by love.
"Flower arrows are like fire arrows to me".
"Cool moonbeams are like fire to me, increasing my passion."
Submarine fire: volcanic eruptions at the bottom of the sea.
You were burned on the numerator side - I am burned by the fire at the Alpha point.
There is a great fire at the Alpha point as well as at the Omega point.
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STRUCTURE SLC8 - P71
Eros was burned when he emerged at the O point, but the King was burned when descending.
The light of double negation gives light to the sun and other luminaries.
Eros was burned when he emerged at the O point, but the King was burned when descending.
The light of double negation gives light to the sun and other luminaries.
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P72
Volcanic fire is nearer to the Absolute than the light of the sun.
It is deeper - a light of lights.
The sun is superficial light.
Is there an explanation for this without the structure?
Otherwise, without the structure, you just explain one story with another, one Purana (legend) with another.
"Strikes me because of her.." - he is afflicted by negative fire.
He says his suffering will be a delight if he is put in the vertical axis.
It is deeper - a light of lights.
The sun is superficial light.
Is there an explanation for this without the structure?
Otherwise, without the structure, you just explain one story with another, one Purana (legend) with another.
"Strikes me because of her.." - he is afflicted by negative fire.
He says his suffering will be a delight if he is put in the vertical axis.
.
The banner is on the plus side.
His soul will be reflected in her eyes.
So, double negation.
If he can fall into the vertical axis, then the suffering will be doubly negated.
(God wanted me to have a first class degree next time, that's why I failed)
The King will see the banner and Shakuntala on the positive side.
Suffering from fire is the first negation, striking is the second.
Then from the O point he can see the numerator banner and by double assertion reach the Omega point.
"If Shakuntala's eyes in the vertical axis are what I gravitate towards, then I will fall into the vertical axis and be saved."
He must fall in the vertical axis - it does not matter where.
Whether by double negation or assertion, the King will reach salvation.
Shakuntala's eyes are still within human life and values.
If the King wants to, by double assertion he can go beyond and out of the circle.
Double negation just puts him on the plus side -
double assertion can then operate to take him to the Omega Point.
His soul will be reflected in her eyes.
So, double negation.
If he can fall into the vertical axis, then the suffering will be doubly negated.
(God wanted me to have a first class degree next time, that's why I failed)
The King will see the banner and Shakuntala on the positive side.
Suffering from fire is the first negation, striking is the second.
Then from the O point he can see the numerator banner and by double assertion reach the Omega point.
"If Shakuntala's eyes in the vertical axis are what I gravitate towards, then I will fall into the vertical axis and be saved."
He must fall in the vertical axis - it does not matter where.
Whether by double negation or assertion, the King will reach salvation.
Shakuntala's eyes are still within human life and values.
If the King wants to, by double assertion he can go beyond and out of the circle.
Double negation just puts him on the plus side -
double assertion can then operate to take him to the Omega Point.
(referring back to Act I)
There is a previous verse referring to the eyes of deer and to two kinds of celibacy.
Here, where Shakuntala's eyes are the attraction, the King will attain a kind of salvation or verticality.
The previous verse refers to her living like the deer, or else marrying.
The two alternatives are not different, but hang together; the same situation exists here.
There is a previous verse referring to the eyes of deer and to two kinds of celibacy.
Here, where Shakuntala's eyes are the attraction, the King will attain a kind of salvation or verticality.
The previous verse refers to her living like the deer, or else marrying.
The two alternatives are not different, but hang together; the same situation exists here.
"Vaikanasa vrta" - a monastic vow.
"Is she completely celibate, or is she to have the eroticism natural to the deer?"
If he knew this, then the King would know how to behave.
"Is she completely celibate, or is she to have the eroticism natural to the deer?"
If he knew this, then the King would know how to behave.
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There is no duality between the male and female deer.
The alternatives are between ordinary marriage and the life of a deer.
Judged by the eyes of a deer, there is no sexual dimorphism:
They continue without abrupt duality in their sex-life.
The lifelong vow is not to be confused with strict Jaina austerities.
He wants to say that there is an Advaitic, vertical, sex-life within the Ashram,
as opposed to Buddhistic or Jaina austerities.
There is abrupt, dualistic Brahmacharya, or a natural, vertical Brahmacharya.
Finally, even Shiva is to have at least one baby, according to Kalidasa.
The alternatives are between ordinary marriage and the life of a deer.
Judged by the eyes of a deer, there is no sexual dimorphism:
They continue without abrupt duality in their sex-life.
The lifelong vow is not to be confused with strict Jaina austerities.
He wants to say that there is an Advaitic, vertical, sex-life within the Ashram,
as opposed to Buddhistic or Jaina austerities.
There is abrupt, dualistic Brahmacharya, or a natural, vertical Brahmacharya.
Finally, even Shiva is to have at least one baby, according to Kalidasa.
Note that this verse is not translated properly: "Like the deer...WITH their friends" should be the correct translation,
not "with her friends, the female deer", as the Pundits say.
not "with her friends, the female deer", as the Pundits say.
Both kinds are here recommended for Shakuntala, because she is an Absolutist.
The life of a deer and of a woman who wants a child can be put together:
both axes will cancel out and I will be saved.
The child will be there and the vertical axis will also prevail.
So, the combination is what is recommended by Kalidasa for the kind of girl that Shakuntala is.
The life of a deer and of a woman who wants a child can be put together:
both axes will cancel out and I will be saved.
The child will be there and the vertical axis will also prevail.
So, the combination is what is recommended by Kalidasa for the kind of girl that Shakuntala is.
There are two alternatives - one vertical and one horizontal -
Kalidasa says: do both; this is the normalised Absolute: combine and cancel out austerity and eroticism.
Kalidasa says: do both; this is the normalised Absolute: combine and cancel out austerity and eroticism.
Return to Act II and the double negation: the King's speech.
If you are caught in negation, double negate it and come to the plus side,
finding there your natural level, so as not to be burned by the sun.
So there is an inner and an outer heat, the outer having a more... (?)
The fire is the propeller and Shakuntala's eyes are the steering wheel.
The eyes of the deer or of Shakuntala are here seen in the banner of Kama.
Long eyes mean a meditative state that unites the horizontal and the vertical.
If you are caught in negation, double negate it and come to the plus side,
finding there your natural level, so as not to be burned by the sun.
So there is an inner and an outer heat, the outer having a more... (?)
The fire is the propeller and Shakuntala's eyes are the steering wheel.
The eyes of the deer or of Shakuntala are here seen in the banner of Kama.
Long eyes mean a meditative state that unites the horizontal and the vertical.
.
"Burn me with the negative fire so that I can pass through the tube and come to the eyes of Shakuntala"
P74
(King continuing after the banner of Eros.)
"Where indeed can I refresh my soul?" i.e. make it happy.
The King descended when he got out of the chariot - a kind of depression.
It is a kind of rebirth - a transition from the horizontal to the vertical.
"Permitted at the end of the ritual..." some Vedic rite is over,
pertaining to Karma Kanda (the domain of action) - he has transcended Karma and is passing on to Vedanta: going from the necessary to the contingent side.
"Malini" is a tributary of the Ganges.
"Sunlight" indicates a positive side where he will find Shakuntala in the shade of a creeper near the Malini.
Karma Kanda (the domain of action) is over and Jñana Kanda (the domain of wisdom) begins.
"Gesticulating touch" the most ontological aspect of what you see objectively - the first.
He will build up the senses from here, from ontology to teleology.
He will put the senses in the schema.
"Embrace the breeze" to cool the incubatory heat of the body.
Malini can be translated as "skin" (word play)
Wind plays on the perspiration on the skin.
So there is the beginning of pleasure on the objective side.
"She must be here..." - this is guesswork - This is Anumana (argument by inference - see the Pramanas).
There is a circle of reeds around a bower of creepers.
The heel sinks in deep to show the heaviness of the behind, the negative psyche of a woman.
Big in the behind is better to carry the baby.
This is structurally perfect for the soul.
A weighty behind gives the balance for the horizontal axis.
"Circle of reeds" - she is lovesick in a world of her own,
encircled and circumscribed.
This shows a degree of subjectivity.
There is a one-to-one correspondence between her circle and a circle around his feelings.
"My eyes are fully gratified...": there is nothing partial in the Absolute:
"my eyes have completed their purpose": a perfectly vertical reaction.
The eyes are not wasted; there is a one-to-one correspondence and cancellation - the second in the series.
Enter Shakuntala - they are not going or coming, just abolishing the distance between them - Bergson's reciprocity is present here.
Vertically, the distance tends to be abolished.
One coming to the other is horizontal and vulgar.
The stone slab is a pedestal or an ontological limit.
Her friends are fanning her - she is in a swoon
- consciousness is at the square root of minus one.
Her senses are not functioning, she is swooning from a negative state of consciousness
"Where indeed can I refresh my soul?" i.e. make it happy.
The King descended when he got out of the chariot - a kind of depression.
It is a kind of rebirth - a transition from the horizontal to the vertical.
"Permitted at the end of the ritual..." some Vedic rite is over,
pertaining to Karma Kanda (the domain of action) - he has transcended Karma and is passing on to Vedanta: going from the necessary to the contingent side.
"Malini" is a tributary of the Ganges.
"Sunlight" indicates a positive side where he will find Shakuntala in the shade of a creeper near the Malini.
Karma Kanda (the domain of action) is over and Jñana Kanda (the domain of wisdom) begins.
"Gesticulating touch" the most ontological aspect of what you see objectively - the first.
He will build up the senses from here, from ontology to teleology.
He will put the senses in the schema.
"Embrace the breeze" to cool the incubatory heat of the body.
Malini can be translated as "skin" (word play)
Wind plays on the perspiration on the skin.
So there is the beginning of pleasure on the objective side.
"She must be here..." - this is guesswork - This is Anumana (argument by inference - see the Pramanas).
There is a circle of reeds around a bower of creepers.
The heel sinks in deep to show the heaviness of the behind, the negative psyche of a woman.
Big in the behind is better to carry the baby.
This is structurally perfect for the soul.
A weighty behind gives the balance for the horizontal axis.
"Circle of reeds" - she is lovesick in a world of her own,
encircled and circumscribed.
This shows a degree of subjectivity.
There is a one-to-one correspondence between her circle and a circle around his feelings.
"My eyes are fully gratified...": there is nothing partial in the Absolute:
"my eyes have completed their purpose": a perfectly vertical reaction.
The eyes are not wasted; there is a one-to-one correspondence and cancellation - the second in the series.
Enter Shakuntala - they are not going or coming, just abolishing the distance between them - Bergson's reciprocity is present here.
Vertically, the distance tends to be abolished.
One coming to the other is horizontal and vulgar.
The stone slab is a pedestal or an ontological limit.
Her friends are fanning her - she is in a swoon
- consciousness is at the square root of minus one.
Her senses are not functioning, she is swooning from a negative state of consciousness
P75
The King's description of Shakuntala - the swoon at the square root of minus one is more beautiful than that of sunlight.
They are in the same circle and Shakuntala is at the bottom of the vertical axis.
There is salve on her breast and a lotus-stalk bracelet on her wrist.
Her breasts are swelling, a sign of horizontalization, so salve is applied.
Her fatigue is equal to that of a lotus in summer, faded, fatigued and tender: completely fatigued.
The hand corresponds to action, the breast to feeling.
They are in the same circle and Shakuntala is at the bottom of the vertical axis.
There is salve on her breast and a lotus-stalk bracelet on her wrist.
Her breasts are swelling, a sign of horizontalization, so salve is applied.
Her fatigue is equal to that of a lotus in summer, faded, fatigued and tender: completely fatigued.
The hand corresponds to action, the breast to feeling.
Not all women can go beyond the square root of minus one;
Shakuntala is thus shown to be infra-human, representing absolute negativity.
The hand is a lotus-flower and the wrist is a stalk: belonging to the vegetable world.
There is a complete equation between Shakuntala and the lotus.
"Is her malady due to the King?" - Kalidasa wants to teach a lesson, not to tell a story.
The sage-king's (Raja Rishi's) influence from the plus side means that Shakuntala has to sink correspondingly on the negative side.
These girls are conventional and do not appreciate the depth of all this.
The upper half rises to give torsion to the body, like Michelangelo's Adam.
This is a most difficult kind of painting.
Anasuya and Priyamvada interrogate Shakuntala - they are conventional women,
Shakuntala is absolute - understand her and you can have salvation.
The two girls delineate the conventional human limit.
Shakuntala is beyond this limit at the square root of minus-one...inside and inside and inside...
There is a negative spark of life in a woman.
"Shakuntala cannot disclose... "- there is a negative part that she cannot disclose, a lonely part of a woman that no one can share: the flight of the alone to the alone, extending beyond the human.
Kalidasa describes the fading Shakuntala -
there is a tragic touch in this description, it is not just romantic.
It is beautiful vertically and deplorable horizontally.
The thinner the crescent, the more beautiful it is.
The King's "new fear" this is at close quarters - his fate is to be decided
- he is like a man waiting for a job in the minister's anteroom.
The nearer the ghost, the greater the fear.
"My love for him has reduced me to this plight" - there is no flourish, he just states the case.
This is the best poetry - straightforward - a beauty in itself with maximum effect.
The best writers do not indulge in any flourishes.
Shakuntala is thus shown to be infra-human, representing absolute negativity.
The hand is a lotus-flower and the wrist is a stalk: belonging to the vegetable world.
There is a complete equation between Shakuntala and the lotus.
"Is her malady due to the King?" - Kalidasa wants to teach a lesson, not to tell a story.
The sage-king's (Raja Rishi's) influence from the plus side means that Shakuntala has to sink correspondingly on the negative side.
These girls are conventional and do not appreciate the depth of all this.
The upper half rises to give torsion to the body, like Michelangelo's Adam.
This is a most difficult kind of painting.
Anasuya and Priyamvada interrogate Shakuntala - they are conventional women,
Shakuntala is absolute - understand her and you can have salvation.
The two girls delineate the conventional human limit.
Shakuntala is beyond this limit at the square root of minus-one...inside and inside and inside...
There is a negative spark of life in a woman.
"Shakuntala cannot disclose... "- there is a negative part that she cannot disclose, a lonely part of a woman that no one can share: the flight of the alone to the alone, extending beyond the human.
Kalidasa describes the fading Shakuntala -
there is a tragic touch in this description, it is not just romantic.
It is beautiful vertically and deplorable horizontally.
The thinner the crescent, the more beautiful it is.
The King's "new fear" this is at close quarters - his fate is to be decided
- he is like a man waiting for a job in the minister's anteroom.
The nearer the ghost, the greater the fear.
"My love for him has reduced me to this plight" - there is no flourish, he just states the case.
This is the best poetry - straightforward - a beauty in itself with maximum effect.
The best writers do not indulge in any flourishes.
P76
King: "I have heard what is worth hearing..." the response is also straightforward: there are no tricks.
The heat of noon causes clouds, and the clouds relieve the heat.
This is a supreme example of double negation.
Shakuntala asks for the King. The girls are in charge of convention,
but they say there is no immorality here; there is no immorality in the Absolute.
The categorical imperative is the motive; every detail is explained.
This is Kalidasa's point: human conventions are here effaced.
The heat of noon causes clouds, and the clouds relieve the heat.
This is a supreme example of double negation.
Shakuntala asks for the King. The girls are in charge of convention,
but they say there is no immorality here; there is no immorality in the Absolute.
The categorical imperative is the motive; every detail is explained.
This is Kalidasa's point: human conventions are here effaced.
The mango supports the atimukta creeper: ordinary horizontality, perfect compatibility.
The river runs into the sea: vertical cancellability.
The river runs into the sea: vertical cancellability.
So there are two kinds of compatibility: the creeper is weak and needs the support of a husband in the form of a mango tree - this is horizontal and conventional.
Then there is a tradition of the family that has to be maintained when choosing a husband for a girl.
Then there is a tradition of the family that has to be maintained when choosing a husband for a girl.
Priyamvada and Anasuya represent two grades of conventionality -
this is the classic standard in Sanskrit drama.
this is the classic standard in Sanskrit drama.
King: "what wonder two Visaka stars follow the crescent moon?"
"Secretly and quickly...", "quickly, I can handle; secretly is another thing, as the matter is already public".
There is nothing more that the companions have to arrange the fruit is ripe on the tree, everything is ready.
"Secretly and quickly...", "quickly, I can handle; secretly is another thing, as the matter is already public".
There is nothing more that the companions have to arrange the fruit is ripe on the tree, everything is ready.
The King's gold bracelet: the scar represents the horizontal duty of the King.
Vertically the ontological diamond and the tear fit together.
There is a four-fold structure here: tears from the corner of his eye wet the diamonds of the bracelet, vertically.
The hard bracelet is constantly being pushed backwards - he is getting thinner - but does not touch the scars left by the bowstring which is horizontal, representing his duty.
"The bracelet used to touch the shoulder scar, reminding me of the horizontal world"
When he was fatter, the bracelet was tight, now that he is thinner, it is loose: vertical suffering has replaced horizontal suffering - he is as pitiable as Shakuntala, who has fallen down.
Vertically the ontological diamond and the tear fit together.
There is a four-fold structure here: tears from the corner of his eye wet the diamonds of the bracelet, vertically.
The hard bracelet is constantly being pushed backwards - he is getting thinner - but does not touch the scars left by the bowstring which is horizontal, representing his duty.
"The bracelet used to touch the shoulder scar, reminding me of the horizontal world"
When he was fatter, the bracelet was tight, now that he is thinner, it is loose: vertical suffering has replaced horizontal suffering - he is as pitiable as Shakuntala, who has fallen down.
P77
Kalidasa goes to great trouble to show that Shakuntala and the King suffer equally: he won't have it one-sided.
Also, this match needs no "campaigners" or arrangers,
because there is a perfect equality of absolute love between them.
The tear dropping to the diamond is the vertical axis, with suffering inside.
There are two pains and two movements: you have to put them together somehow.
The King hunts during the day to protect the ashram from evil elementals:
he is also capable of the deepest sentiments of love in the Absolute sense
- he combines the horizontal and the vertical.
Also, this match needs no "campaigners" or arrangers,
because there is a perfect equality of absolute love between them.
The tear dropping to the diamond is the vertical axis, with suffering inside.
There are two pains and two movements: you have to put them together somehow.
The King hunts during the day to protect the ashram from evil elementals:
he is also capable of the deepest sentiments of love in the Absolute sense
- he combines the horizontal and the vertical.
"But could fortune, seeking, fail to find?":
this means, go from the effect to the cause, from the contingent to the necessary.
There can be only one cause for a certain effect, though many effects are possible from one cause.
"The seeker of fortune may fail, but the fortune seeking a seeker could not fail to find him"
Shakuntala is diffident about writing a love poem to the king: she agrees to write the poem, as there is a savoir- necessary in a woman procuring her mate.
Anasuya and Priyamveda both approve of the plan from the conventional side, then Shakuntala only has to give her consent from the vertical.
"Allusion to yourself...": do not begin with theory, begin with yourself:
"I have been in love..." (cogito ergo sum).
Begin with the real - this is Vedantic methodology.
this means, go from the effect to the cause, from the contingent to the necessary.
There can be only one cause for a certain effect, though many effects are possible from one cause.
"The seeker of fortune may fail, but the fortune seeking a seeker could not fail to find him"
Shakuntala is diffident about writing a love poem to the king: she agrees to write the poem, as there is a savoir- necessary in a woman procuring her mate.
Anasuya and Priyamveda both approve of the plan from the conventional side, then Shakuntala only has to give her consent from the vertical.
"Allusion to yourself...": do not begin with theory, begin with yourself:
"I have been in love..." (cogito ergo sum).
Begin with the real - this is Vedantic methodology.
The letter is to be hidden in flowers offered to the deity:
The letter is conceptual. Any conventional "lie" she might tell would be cancelled against the requirements of the ritual.
The ritual cancels out conventional poetry - the ritual is conventional
Moonlight is good for the love-afflicted body: expose it to the full moon to cancel out the incubatory heat inside: the double assertion of the moon cancels out the double negation of the heat.
"Do not now cover the body with a cloth...":
i.e. we are suggesting something natural, accept it.
The letter is conceptual. Any conventional "lie" she might tell would be cancelled against the requirements of the ritual.
The ritual cancels out conventional poetry - the ritual is conventional
Moonlight is good for the love-afflicted body: expose it to the full moon to cancel out the incubatory heat inside: the double assertion of the moon cancels out the double negation of the heat.
"Do not now cover the body with a cloth...":
i.e. we are suggesting something natural, accept it.
P78
(Back to the King's bracelet)
.
Put the two, daytime and night, together.
The King is an absolutist at both times.
The King trains himself to shoot the deer
Here we have absolute speed, absolute verticality and absolute difficulty.
"I am cancelling: a hunter against the deer; but now I am becoming thin for the deer-eyed one, I am verticalized"
The bracelet does not touch the scar; this means that there is no contradiction.
He is an absolutist hunter and an absolutist lover.
Here, he says, do not talk about the horizontal, I am suffering vertically.
Here we have absolute speed, absolute verticality and absolute difficulty.
"I am cancelling: a hunter against the deer; but now I am becoming thin for the deer-eyed one, I am verticalized"
The bracelet does not touch the scar; this means that there is no contradiction.
He is an absolutist hunter and an absolutist lover.
Here, he says, do not talk about the horizontal, I am suffering vertically.
Back to the crescent moon and stars.
.
Astronomically: two stars abolish the duality between them with reference to the brighter moon.
The souls of all of them will be merged and ascend into heaven.
The souls of all of them will be merged and ascend into heaven.
.
Anasuya and Priyamvada put it in denominator language - a creeper on a mango tree.
The King puts it in numerator language - two stars follow the moon.
The fates of Anasuya and Priyamvada are inextricably entwined with the final salvation of Shakuntala; the King comments on this.
The King puts it in numerator language - two stars follow the moon.
The fates of Anasuya and Priyamvada are inextricably entwined with the final salvation of Shakuntala; the King comments on this.
(returning to our place)
Shakuntala sits up smiling: women can change quickly in the vertical axis of the Kundalini:
"You have given me hope, support on both sides: how shall I begin?"
"O, fickleness, thy name is woman "
Shakuntala sits up smiling: women can change quickly in the vertical axis of the Kundalini:
"You have given me hope, support on both sides: how shall I begin?"
"O, fickleness, thy name is woman "
The King with eyes unwinking: "Her face reveals passion for me;
one eyebrow lifted and cheeks thrilling"
Cheeks: most superficial but positive state of the body.
The raising of one eyebrow makes a sinus curve, a figure eight, like holding the hair with one hand.
This is a horizontal figure eight, which is tilting slightly to the vertical.
The King is immobile and completely interested.
This is called Khecari: the numerator copulation has already taken place.
On the numerator side there must be a sex act as complete as possible.
A poetess straining for intellectual (positive) achievement.
Kalidasa will not bother to describe the denominator sex act.
Her smile shows that she has shifted from first to second gears: this is easy for a woman.
one eyebrow lifted and cheeks thrilling"
Cheeks: most superficial but positive state of the body.
The raising of one eyebrow makes a sinus curve, a figure eight, like holding the hair with one hand.
This is a horizontal figure eight, which is tilting slightly to the vertical.
The King is immobile and completely interested.
This is called Khecari: the numerator copulation has already taken place.
On the numerator side there must be a sex act as complete as possible.
A poetess straining for intellectual (positive) achievement.
Kalidasa will not bother to describe the denominator sex act.
Her smile shows that she has shifted from first to second gears: this is easy for a woman.
She writes on a lotus leaf: nothing artificial should intervene:
use a conducting material to pass from negative to positive.
use a conducting material to pass from negative to positive.
Shakuntala reads her poem: this is a challenge to all other poets.
She is speaking as an ontological philosopher only.
The King is on the numerator side, and is to be known only.
"Anyhow, I am suffering". Kama is described as "all-powerful",
Not as the "cruel one" - or is it the King?
She is speaking as an ontological philosopher only.
The King is on the numerator side, and is to be known only.
"Anyhow, I am suffering". Kama is described as "all-powerful",
Not as the "cruel one" - or is it the King?
Enter King: "love only torments you, but me he quite consumes, day causes the lotus to fade, but completely effaces the moon"
The King's description of Shakuntala on the couch - crushed lotus-stalks.
She is like a creeper that has fallen from the tree to the ground; he treats her limbs pluralistically.
Shakuntala: "why do you delay the King?"
- horizontally there is a gap between the King and his wives
- a horizontal sense of justice.
The vertical sense of justice is that she is a humble person, and he is a Raja Rishi (sage-king).
The King's description of Shakuntala on the couch - crushed lotus-stalks.
She is like a creeper that has fallen from the tree to the ground; he treats her limbs pluralistically.
Shakuntala: "why do you delay the King?"
- horizontally there is a gap between the King and his wives
- a horizontal sense of justice.
The vertical sense of justice is that she is a humble person, and he is a Raja Rishi (sage-king).
(looking back)
The King's bangle moves up and down the vertical axis - his arm.
It does not participate with the horizontal; the lust of people who do not have the vertical participating with the horizontal, they escape in a figure eight.
Shakuntala sits up and smiles and writes a poem;
Kalidasa is showing that one has alternate states of consciousness that come like electricity. A simple arched eyebrow is an attempt to verticalize.
The King tells Shakuntala not to rise: "you are almost my equal - in your own way, you are as great as I am, a complementary part of myself".
This one-one correspondence of complementary factors belonging together to the absolute is the essence of Vedanta.
The King's bangle moves up and down the vertical axis - his arm.
It does not participate with the horizontal; the lust of people who do not have the vertical participating with the horizontal, they escape in a figure eight.
Shakuntala sits up and smiles and writes a poem;
Kalidasa is showing that one has alternate states of consciousness that come like electricity. A simple arched eyebrow is an attempt to verticalize.
The King tells Shakuntala not to rise: "you are almost my equal - in your own way, you are as great as I am, a complementary part of myself".
This one-one correspondence of complementary factors belonging together to the absolute is the essence of Vedanta.
P80
Only Kalidasa and Sankara say that it is no sin to sleep with your wife:
no other religion says this.
All the works of Kalidasa are aimed at just this one point;
verticalize it and there is nothing wrong - that a child is born is only incidental.
no other religion says this.
All the works of Kalidasa are aimed at just this one point;
verticalize it and there is nothing wrong - that a child is born is only incidental.
"Something superfluous": The King says that you had better say it, you had an intention to say it, and the first promptings of an excellent woman will generally be right.
First impressions are promptings of the soul - but you have to catch them clearly and promptly.
So Kalidasa enunciates a general law.
First impressions are promptings of the soul - but you have to catch them clearly and promptly.
So Kalidasa enunciates a general law.
Priyamvada: "love has smitten her on your account: you and Kama - both are on the numerator side, let her kick the ball".
The King says: "We are sailing in the same boat; passion is reciprocal"
- never say "darling " to your wife - "our suffering is reciprocal."
Then you can cancel it out. Find the centre of the situation.
Admit no duality, you will save trouble all your life.
This not only gives you freedom, but confers freedom on the other as well.
This cancellation is the secret of Advaita Vedanta.
Do not try to become sublime or ridiculous.
Here, at the most important point of the play, he says: "our passion is reciprocal" - finished.
Shakuntala: "Why detain the King from his other consorts - he has responsibilities"
There is a wonderful heroism here: she keeps the frame of reference
- when you lose the form of your thoughts that is called hysteria.
(Here the Guru votes for European women, especially German)
Who loves whom here? This is not a love story - it is cancelled love, glorified.
King: "I was once slain by a numerator Eros - the eye at the top, now I am slain by the eye below: I am a fully verticalized person - the other wives in my harem do not count. Do not push me to the horizontal."
Killing is a contradiction.
- never say "darling " to your wife - "our suffering is reciprocal."
Then you can cancel it out. Find the centre of the situation.
Admit no duality, you will save trouble all your life.
This not only gives you freedom, but confers freedom on the other as well.
This cancellation is the secret of Advaita Vedanta.
Do not try to become sublime or ridiculous.
Here, at the most important point of the play, he says: "our passion is reciprocal" - finished.
Shakuntala: "Why detain the King from his other consorts - he has responsibilities"
There is a wonderful heroism here: she keeps the frame of reference
- when you lose the form of your thoughts that is called hysteria.
(Here the Guru votes for European women, especially German)
Who loves whom here? This is not a love story - it is cancelled love, glorified.
King: "I was once slain by a numerator Eros - the eye at the top, now I am slain by the eye below: I am a fully verticalized person - the other wives in my harem do not count. Do not push me to the horizontal."
Killing is a contradiction.
P81
King: there are two glories of his race: the sea-clad earth - a circle,
the horizontal world - and Shakuntala, as the vertical.
His wives are incidental and included in the horizontal world,
But Shakuntala is the vertical axis.
After showing Shakuntala's concern for the wives of the King,
And that of the King himself, they are put in a circle.
After Anasuya's concern for Shakuntala and her people,
The King says: "I shall tell you my whole interest in one verse: the sea-clad earth and this Shakuntala".
Do not worry about the small change, I am showing you the whole bold structure at one stroke.
the horizontal world - and Shakuntala, as the vertical.
His wives are incidental and included in the horizontal world,
But Shakuntala is the vertical axis.
After showing Shakuntala's concern for the wives of the King,
And that of the King himself, they are put in a circle.
After Anasuya's concern for Shakuntala and her people,
The King says: "I shall tell you my whole interest in one verse: the sea-clad earth and this Shakuntala".
Do not worry about the small change, I am showing you the whole bold structure at one stroke.
.
When the King and Shakuntala come together, they make one absolute gold coin with two sides.
Here is the theory of ramified sets and sub-sets.
Here is the theory of ramified sets and sub-sets.
Anasuya and Priyamvada want to love: an antelope seeking its mother has the tender feeling of a woman concerned with the denominator side of bringing babies to their mothers.
Note the delicacy of the device - the fawn is turning towards its mother; again the eyes, but this time without fear.
Anyone else would have written. "Well, dear, we have business elsewhere"
Note the delicacy of the device - the fawn is turning towards its mother; again the eyes, but this time without fear.
Anyone else would have written. "Well, dear, we have business elsewhere"
"Let one of you come back, if you both go and take the horizontal support, then I shall fall down":
the flagpole needs a stay-wire to hold it firmly.
the flagpole needs a stay-wire to hold it firmly.
"The protector of the earth is with you": this is irony, but not sarcastic;
both of them fall into the vertical axis, no sin can arise here.
both of them fall into the vertical axis, no sin can arise here.
There are two ways of relieving pain: one is pressing the legs
(traditional in North India) - consoling from the negative side
- the other is a cool breeze from the numerator side.
The King will normally stop with the latter, but he will function on the denominator side.
This is so near the sex act that it will be of absorbing interest to the audience.
(traditional in North India) - consoling from the negative side
- the other is a cool breeze from the numerator side.
The King will normally stop with the latter, but he will function on the denominator side.
This is so near the sex act that it will be of absorbing interest to the audience.
P82
Shakuntala will not offend those whom she is bound to respect:
there is no pretence, she is thinking of Kanva.
She absolves herself of the last charge, she is completely conscious of all of her responsibility - one does not make love to a guest in the absence of the head of the Ashram.
This respect of every aspect of the situation is a great lesson of Kalidasa.
The King forcibly draws her back: Sec 133 of the penal code, but a little forcing is in place in nature.
She can normally go vertically, it requires force for direct participation with the horizontal.
Thus Brigitte can be allowed to remain unmarried.
It is normal for the female to run away from the male, as is a certain amount of force.
She is leaving for three-dimensional reasons, but the King represents the fourth: he is right to use force.
Kalidasa is not wrong. (Cf. Narayana Guru and Nabi Mohammed)
"Restrain yourself." moral strength comes from the female side.
She is in love, but is not her own master.
The same thing occurs with Satyavati, yielding to Vyasa.
Gandharva marriage: an exception, no bad example is being set for human values, "we are both semi-divine".
This is vertical morality, the other is horizontal - cf. Bergson.
Christ will allow it, only the presbyters will object.
The question of sin does not arise in the Absolute, so how can we discuss it?
This is a vertical situation.
She again wishes to take counsel with Anasuya and Priyamvada, very correctly.
Shakuntala will not offend those whom she is bound to respect:
there is no pretence, she is thinking of Kanva.
She absolves herself of the last charge, she is completely conscious of all of her responsibility - one does not make love to a guest in the absence of the head of the Ashram.
This respect of every aspect of the situation is a great lesson of Kalidasa.
The King forcibly draws her back: Sec 133 of the penal code, but a little forcing is in place in nature.
She can normally go vertically, it requires force for direct participation with the horizontal.
Thus Brigitte can be allowed to remain unmarried.
It is normal for the female to run away from the male, as is a certain amount of force.
She is leaving for three-dimensional reasons, but the King represents the fourth: he is right to use force.
Kalidasa is not wrong. (Cf. Narayana Guru and Nabi Mohammed)
"Restrain yourself." moral strength comes from the female side.
She is in love, but is not her own master.
The same thing occurs with Satyavati, yielding to Vyasa.
Gandharva marriage: an exception, no bad example is being set for human values, "we are both semi-divine".
This is vertical morality, the other is horizontal - cf. Bergson.
Christ will allow it, only the presbyters will object.
The question of sin does not arise in the Absolute, so how can we discuss it?
This is a vertical situation.
She again wishes to take counsel with Anasuya and Priyamvada, very correctly.
The King will go once he has sipped her nectar:
it is the perfection of the analogy that keeps you from laughing here.
It is serious and sublime.
it is the perfection of the analogy that keeps you from laughing here.
It is serious and sublime.
Enter Gautami: the King hides himself, she sprinkles water on the head of Shakuntala.
There is the numerator consolation of the kiss and the denominator aspect is not to be acted out.
As she leaves, she bids farewell to the bower and the King: "Hoping once more to be happy under your shade".
There is the numerator consolation of the kiss and the denominator aspect is not to be acted out.
As she leaves, she bids farewell to the bower and the King: "Hoping once more to be happy under your shade".
P83
Shakuntala is satisfied in the numerator sense or aspect.
She addresses her own heart:
she did not accept the King's approaches (numerator)
but now she does not want to leave (denominator).
So there are numerator and denominator satisfactions.
The heart is the O point.
The marriage has been made in heaven - she is satisfied.
But she wants to come back here for it to be enacted on earth - she is not yet satisfied.
She addresses her own heart:
she did not accept the King's approaches (numerator)
but now she does not want to leave (denominator).
So there are numerator and denominator satisfactions.
The heart is the O point.
The marriage has been made in heaven - she is satisfied.
But she wants to come back here for it to be enacted on earth - she is not yet satisfied.
.
The same heart and the same bower are there; only the feeling is different.
The King speaks of the lower lip: then he says he will remain in the bower, although deserted by her: then describes the bower - couch, letters, bracelet.
Then he is called away by the voice, to chase the flesh-eating demons.
The King speaks of the lower lip: then he says he will remain in the bower, although deserted by her: then describes the bower - couch, letters, bracelet.
Then he is called away by the voice, to chase the flesh-eating demons.
Movement here is from the Omega point scene, just enacted, to the Alpha point scene about to be enacted, as suggested by the demons.
The King and the deer are on the horizontal axis.
The King and Shakuntala are on the vertical axis.
The circle of reeds is vertical.
You have to put eyes everywhere.
The King and Shakuntala are on the vertical axis.
The circle of reeds is vertical.
You have to put eyes everywhere.
.
The reeds are only time verticalized. Sand and mud are needed for the reeds to grow.
"The handle of the mirror of the face"
- the face of Shakuntala cancels out with the face of the King.
Kalidasa is showing negative nature and its counterpart on the numerator side.
The conic section is now being described at the horizontal axis.
The King does not leave the bower, because it is vertical.
The King does not ever kiss.
"The handle of the mirror of the face"
- the face of Shakuntala cancels out with the face of the King.
Kalidasa is showing negative nature and its counterpart on the numerator side.
The conic section is now being described at the horizontal axis.
The King does not leave the bower, because it is vertical.
The King does not ever kiss.
.
P84
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The King wants to remain in qualitative space.
The arrow here is the light on the King's diamond bracelet.
The King descends, Shakuntala ascends gently, and they participate at the level of the horizontal axis.
There are eyes everywhere.
Throbbing cheeks and raised eyebrows give a figure eight.
Eyelashes are the upper limit of the circle, lips cancel repeatedly.
He lifts repeatedly, like the Kundalini.
Words of denial: "please don't violate me!"
Stammering is a paradox; turned on one side it is a figure-eight, like the deer.
"Somehow raised" means a seat.
A physical thing - somehow or other it happened.
It has to face the light many times - "handle of the mirror of the face".
The arrow here is the light on the King's diamond bracelet.
The King descends, Shakuntala ascends gently, and they participate at the level of the horizontal axis.
There are eyes everywhere.
Throbbing cheeks and raised eyebrows give a figure eight.
Eyelashes are the upper limit of the circle, lips cancel repeatedly.
He lifts repeatedly, like the Kundalini.
Words of denial: "please don't violate me!"
Stammering is a paradox; turned on one side it is a figure-eight, like the deer.
"Somehow raised" means a seat.
A physical thing - somehow or other it happened.
It has to face the light many times - "handle of the mirror of the face".
The King remains: Shakuntala is there in principle, her non- existence is there.
Looking all around: recognising the circle -the vectorial space of the colour solid.
Looking all around: recognising the circle -the vectorial space of the colour solid.
"Repeatedly lifting" must refer to Kundalini Shakti:
Kalidasa must have been a yogi - a man of the highest culture.
Kalidasa must have been a yogi - a man of the highest culture.
P85
Some secrets on sex from structuralism.
Gotra Skelana - women are mutually exclusive on the negative side:
do not ask ANY woman to excuse you for calling her by another's name.
Gotra Skelana - women are mutually exclusive on the negative side:
do not ask ANY woman to excuse you for calling her by another's name.
SITUATIONS WITH STRUCTURAL IMPLICATIONS:
1) PUSHING HUSBAND DOWN WELL (DANDIN)
2) KICKING SHIVA IN THE FOREHEAD (SANKARA)
3) CALLING WIFE BY ANOTHER´S NAME (DANDIN)
1) PUSHING HUSBAND DOWN WELL (DANDIN)
2) KICKING SHIVA IN THE FOREHEAD (SANKARA)
3) CALLING WIFE BY ANOTHER´S NAME (DANDIN)
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