SAUNDARYA LAHARI
VERSE 23
RELATIVITY IS REVISED TO YIELD ABSOLUTE ORTHOGONALITY
RECIPROCITY WITHIN A QUATERNION
त्वया हृत्वा वामं वपु-रपरितृप्तेन मनसा
शरीरार्धं शम्भो-रपरमपि शङ्के हृतमभूत् ।
यदेतत् त्वद्रूपं सकलमरुणाभं त्रिनयनं
कुचाभ्यामानम्रं कुटिल-शशिचूडाल-मकुटम्
sarirardham sambhor aparam api sanke hrtam abhut
yad etat tvad rupam sakalam arunabham trinayanam
kucabhyam anamram kutila sasicudalamakutam
The other, I surmise, became absorbed also; therefore,
This your form, having three eyes and bent by twin breasts,
Wearing a curved, crescent-bedecked crown, became of magenta glory.
In this verse Parvati, the wife, appears to be devouring her husband alive. When this act of mutual absorption or cancellation attains to its full limit, what remains of Shiva, in vague outline, is the crescent moon and three eyes, immersed in the pale magenta halo or glory of the Goddess. On the part of the Goddess, what remains of the eternal feminine principle is the twin breasts, which are so ponderous, weighed down by the responsibility of motherhood, that they make her body recumbent. Her own body is completely dissolved in terms of an all-pervading magenta, dispersed in infinite space and thus made equally magenta in content everywhere. It is as thin and tender in consistency, in existential terms, as the mathematical crescent of a subsistential order, against which the vaporous cloud of colour is to be cancelled out. The three eyes are retained as belonging both to the onlooker as well as to the one looked upon, interchangeably and indifferently. It is the third eye, through which the thinnest aspect of the vertical parameter is to pass as an eternal inner witness, which is common to both Shiva and Parvati.
ADDITIONAL COMMENTS WITH STRUCTURAL DIAGRAMS RELATED TO THIS VERSE FROM SAUNDARYA LAHARI/NOTES.
Tvaya hrtva vamam vapah - by You absorbing the left (half) of the body
Aparitrptena manasa - unsatisfied in mind
Sharir ardham shamboh - the half of the body of Shiva
Aparam api - the other also
Hrtam abhut -
Yad etat tvad rupam - this which is Your form (resulting thus)
Sakalam aruna bham - wholly of magenta glory
Trinayanam - three eyed
Kuchabhyam anamram - slightly bent, recumbent, by virtue of twin breasts
Kutila shashi chudala makutam - wearing crescent-bedecked curved crown
She does not abolish, but cancels.
Magenta and the crescent have homogeneous status.
Her form becomes completely magenta, with three eyes.
Three compartments are abolished into the quaternion.
The whole ground becomes magenta and homogeneous.
The Devi, with the left half of her body, absorbs half of the body of Shiva; then, not content with that, she absorbs what is left.
Then she becomes magenta-coloured.
Her breasts are described as being bent in a figure-eight.
The Guru describes the breasts as a figure-eight which is part black and part white and gives a magenta colour when rotated quickly.
The Guru says: "Today I am feeling guilty that there would be changes; that I am putting proto-language into the verses. But it is not so: You have to use it."
Sankara has used a colourful, schematic language.
So here the Devi has completely absorbed Shiva, She has a crown with a crescent moon, three eyes, is magenta in colour and Her breasts are bent - but NOT bent by their weight, as the pundits state.
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Another version:
TRANSLATION
- By thee absorbed
- The left (side) of the body (has been absorbed by You)
- With discontented mind (still unsatisfied)
- Of Shiva, half the body
- Also the other (counterpart) - (something remains)
- I do surmise (or doubt)
- Became also absorbed (she encroaches into the remaining half)
- This which is (given here, this which)
- Your (present, resultant) form
- Of glowing magenta colour / having three eyes
- By the two breasts somewhat recumbent
- Decorated by the bent crescent moon crown
(Bent crescent moon decoration - headgear)
Shiva is eaten up by the Devi because she represents ontology first.
She is real, he is conceptual.
Thus She has the crescent moon, which is the traditional crown or headgear of Shiva, as a final, conceptual, decoration.
It does not matter if Shiva is there at all. Shakti is given primacy over Shiva because ontology is the natural basis: travel from what you know to what you do not know: from Shakti to Shiva - this is the methodology of Sankara's Vedanta.
The whole of theology in the western world moves between Plato and Aristotle.
(Plato will tend to give primacy to ideas, while Aristotle will give more value to ontological factors. ED)
See Bergson on the reality of colour and Russell on the relationship between metaphysics and mathematics.
The crescent moon, which is the traditional decoration of Shiva, is the resultant of that form which has absorbed the body of Shiva.
Here the male and female have interpenetrating reciprocity.
Again, we have the cancellable version of Shiva and Shakti.
THE DEVI - FROM THE ALPHA POINT TO THE HORIZONTAL IS PHYSICS.
THE DEVA (SHIVA) - FROM THE OMEGA POINT DOWNWARDS VERTICALLY IS METAPHYSICS.
Sir Edmond Whittaker says that the structure of the universe was in the mind of God before it was created.
Eddington says: "if you put me in a room with a piece of paper, I shall predict the next eclipse".
Along with Pythagoras, they recognized the structure and the form which is clinging to it.
So, these men are conceptualists.
James Jeans says that God is a mathematician.
So, theology is coming back to science.
Ethics is derived from a philosophy and that philosophy must be scientific, i.e. pulling together the world of the observables and the calculables.
These two worlds must be put together into one.
See Socrates, Plato and Aristotle, the Alexandrian school (Plotinus), the Christian Mystics, the middle ages, Copernicus, Darwin, etc.
(See also Aldous Huxley's "The Perennial Philosophy").
"I want to put order into my thoughts and it was finally Narayana Guru who put me on the track to the Upanishads.
So let the children of the drop-outs start a new movement.
Vedanta is unique because it is ordered and the terms defined.
We just want to put things in order and arrive at a notion of the Absolute.
Yesterday, the crescent moon is bent, now the breasts are also bent.
She encroaches on the body of Shiva.
Virtuality is common (in principle), thus, it is the left side.
Actuality remains - the Devi represents ontological, down-to-earth actual reality, Shiva represents the mathematical implications of this actual reality.
She wants to absorb that right half as well.
In so doing, she has to sink into Herself. But she gets the third eye because she cannot absorb all of the mathematical aspect without some of it showing: the eye represents the calculable, transcendent Omega Point.
She also has his decorative crown, with a thin crescent moon, which is curved.
So, the crescent moon is the Bindhusthana or central locus of meditation.
How are the breasts bent? Because left and right are treated as virtual and actual breasts, on the left and right sides of the horizontal axis, respectively..
The Devi is encroaching from her existential side, devouring first the left, or virtual side; then the right, or actual side, leaving only the Numerator of the crescent and third eye.
The two breasts cancel out into a Yin-Yang pattern.
There are two references to "bent" - anamram, kutila.
sarirardham sambhor aparam api sanke hrtam abhut
yad etat tvad rupam sakalam arunabham trinayanam
kucabhyam anamram kutila sasicudalamakutam
Kutila shashi chudala makutam - wearing crescent-bedecked curved crown
He wants a curve introduced to the crescent. "Somewhat recumbent" suggests bringing it into a circle, thus we arrive at Yin-Yang.
(There is a curve to the crescent moon, which is combined with the curve of her slightly bent waist to form a Yin-Yang structure within a circle. ED)
The Guru says: "Am I going beyond the limits of speculation? In Sanskrit literature, you have to be free in your speculations; it is not read like a telephone book. For example: "moon-like face" refers to lustre in Sanskrit and does not mean round or pancake-like.
So, you have to know the Sanskrit classics in order to interpret this in the tradition of Sankara and Kalidasa.
So I am taking the liberty of putting the breasts into a Yin-Yang schema.
You have to be prepared for this through reading other works of Sanskrit literature. Otherwise you will not be able to interpret the verses."
METHODOLOGY FOR MAKING A FILM
Gradual negation of the negative: construct the positive Absolute by reducing the negative into positive.
The Absolute is androgynous.
Parvati first eats up the left half of Shiva.
Classical and popular images of the "Half-Woman God" form of Shiva (Ardhanarishvara).
Then, not content with this, she devours the right half as well.
Then, bent by the weight of the breasts, she is of aruna (magenta) colour.
So here, the emphasis is on the negative ontological side.
Integration of plus and minus results in the Absolute.
The bending suggests a figure-eight.
You cannot abolish Shiva completely, the third eye and the crescent remain.
The Alpha Point is abolished into a figure-eight.
So this is a double principle of negation and construction.
She begins on the left side because that is easier for Her; after that, She can enter into the positive side.
This is an iconographic ideogram, a kind of protolanguage.
The figure-eight can mount and becomes aruna (magenta) when it passes the horizontal axis. Still the third eye is left, as the value of meditation, and the crown as the source of the Ganges.
The minus side becomes positive and the magenta colour results.
Another version:
TRANSLATION
- Absorbed by You
- The left side of the body
- With mind not fully satisfied
- The half of Shiva's body
- The other counterpart also
- I surmise
- Became absorbed
- By virtue of which
- This (this world)
- Your form
- Having magenta glory
- Third eye
- Bent by breasts
- Having a crescent moon-adorned crown
Not fully satisfied, She goes from the less important to the more important, in a methodological order. There is first a horizontal reduction from the virtual side (1)
- then from the vertical (3).
Monomarks representing Shiva remain as the third eye and the crescent moon.
In the diagram below She begins eating from the left.
.
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(1) from the virtual side across to the actual side, when she finishes the horizontal axis, then she shines on the negative vertical
(2) Going from left to right is bilateral symmetry. Going from top to bottom is transfer symmetry.
(3)The resultant of the cancellation is the magenta colour - since the two bodies have cancelled.
Then, the third eye implies the Devi has become verticalized.
Bent by the weight of breasts: (See the reference in Verse 80 to the waist as so thin as to need to be bound up by Kama Deva with three vines.)
To get to the bottom of this iconic ideogram, we have to abolish the waist into a sinus curve.
Then the crescent and crown are the final aspect of Shiva - it is all the representation he needs - the principle or monomark remains over the whole scheme.