Advaita Vedanta

Absorbing the left half of the body of Siva and unsatisfied in mind still,
The other, I surmise, became absorbed also; therefore,
This Your form, having three eyes and bent by twin breasts,
Wearing crescent bedecked crown, became of magenta glory.

Once again, "slightly bent" at the waist.
Here the Devi devours the left half of Shiva, then absorbs the other half.
Her form becomes completely magenta, with three eyes.
The two breasts are bent into a sinus curve or a Yin-Yang figure.

SLC2-P11 - VERSE 23

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Shiva destroys the three gods, along with the three worlds, but even so, he cannot abolish the negative side

- the Devi's knitted eyebrows balance it out by compassion and normalize it into the Absolute.
Brahma creates, Vishnu sustains, and Mahesvara (Shiva in his relativistic horizontalized aspect) destroys.
He triumphs as a mathematical entity and escapes from his body.

The relativistic Shiva can be inside the circle:
Sada Shiva (the Supreme Shiva) is even beyond the Omega Point and is eternal.

This Shiva blesses all of this, ("your" Sada Shiva) taking your permission first - he cannot neglect the negative side (the Devi).

.He takes orders at once from the vibration of Her eyebrows.

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SLC2-P11 - VERSE24

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Of the three gods, who are originated from Your three nature modalities,
Their worship of You, o Consort of Siva, would alone be worship
Offered to Your twin feet; it is indeed thus when they do so,
Standing eternally beside Your gem-decked foot-stool, joining bud-like their hands well above their crowns

The three Vedic gods worship the Devi, with their hands folded above their crowns.
"The gods, born of the three Gunas, do worship at Thy pearly footstool".
"Puja-puja": that is the real Puja (worship), which is offered at the feet of the Devi.
They are standing there eternally, because the Devi is eternal.
The existential footstool is at the bottom of the vertical axis - it is the basis of ontology.

VERSE 26

Brahma regains his pure quintuple nature; Vishnu becomes passionless;
The God of Death destruction meets; the God of Wealth becomes bankrupt;
the great Indra becomes functionless, with half-shut eyes;
In this great doom, he sports, o constant spouse, Your lord alone.

Here all the functions of the gods and the fourteen Manus (lawgivers) cease to be operative "in the great dissolution".

But Shiva dances because the Devi is chaste.
All of the horizontal factors are disintegrated.
The Devi remains chaste - only the vertical factor remains; thus Shiva remains - the integration of positive and negative is never lost.
Destroy Samsara, the relativistic horizontal world and only the vertical remains.
Verticality is the greatest virtue in anyone.

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SLC2-P12 - VERSE 26

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P13

Incantations, mutterings, ritual acts, hand gestures, gait,
Circumambulations, food offerings, inclination, adoration by lying down
All such enjoyments, as coming within the scope of self-surrender,
And thus synonymous with worship of You, let such be what from me
might shine forth

All of the acts of Puja (ritualistic worship) are here enumerated.
Sankara says: "do not treat these as separate items, but as all coming from the Self as a form of self-surrender".
Let this Puja be brought under the aegis of "Self-Puja".
The whole of this shining thing, let it be related to the Numerator non-Self".
This is an equation of Self and non-Self.
"Let this all be one master-worship".

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SLC2-P13 - VERSE 27

Even on partaking of nectar, so potent against fear, old age and death;
They reach their doom, all such gods as Brahma or Indra;
On even swallowing that terrible super-poison, for Siva, time's function is not operative:
The source here being the power of Your marital string.

The greatness of your neck-thread (a symbol of marriage - the equivalent of a wedding-ring) saves Shiva, even when he drinks poison
- even though the gods die, even when drinking only nectar,
Shiva does not die, nor does he die when drinking poison:
this is double negation, a negation of a negation.
The source of this negation is the Devi, with Her thread, representing ABSOLUTE Negation.

VERSE 29

"Remove Brahma's crown from before, and that of him called Vishnu;
You are going to hurt his hard headgear: bypass Indra's crown"
As inclining in front of You, they remain, at that very moment for him on his homecoming,
You are about to rise. Such words of Your retinue , they do ring supreme.

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SLC2-P13 -VERSE 29

The Devi is about to rise on the entrance of Shiva.
Attendants say: "Remove the crown of Brahma, do not hurt the diamond-hard crown of Vishnu, transcend Indra's crown".
"They are bowing down to You."
"The utterings of Your entourage reign victorious".
Here the Alpha and Omega Points meet in the Absolute.

P14

By sixty-four know-how factors, each capable of generating its own psychic power;
Transcending the whole world while remaining immobile,
The Lord of Beasts, again, by Your insistence, by that free expertness of Yours,
Caused to be brought down this firm earth for the unified fulfilment of all life purposes.

Two opposite universal functions are here brought into the picture.
Mantra is Numerator.
Yantra is the means of implementing the 64 Tantras (know-how factors)
Shiva disperses, the Devi brings together.
Each of these 64 generates a specific power or siddhi.
Siddhis (psychic powers) are for Shiva, the life aims of mankind (purusharthas) for man.

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SLC2-P14 - VERSE 31

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P15

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Siva, Parvati, Eros and earth; sun, moon,
God of Love, swan and Indra; Para, Mara and Hari;
With these three sets, with their heart monomarks suffixed,
They adore Your letters, o Mother, by way of naming Your component limbs.

These are categories, each with its sound, the letters, one for each.
You can schematise and generalise the Devi using letters as monomarks for each of the schematic sections. It is an "Esprit de finesse".

VERSE 33

Eros, source, wealth; this triplet placing first within Your charm
O lone and eternal one, innumerable seekers of great enjoyment
Adore You, telling beads of philosopher's stone, ever sacrificing into the fire of Siva
By hundreds of streaks of clarified butter oblations from the celestial cow.

This is a related verse to the previous VERSE 32.
They go to the Denominator, worshiping the Numerator with the milk of Kamadhenu, the celestial cow.

VERSE 34

You, who are the body of Siva, having sun and moon for twin breasts
Yourself, I surmise, o Goddess, as a new sinless self.
Therefore, by mutual complementarity, this relation remains one of common reciprocity
Between You two, participating on equal terms of transcendent bliss.

There is complementarity and reciprocity between Shiva and Shakti, as also interpenetration, parity and one-to-one correspondence.

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The mind You are, the sky, the wind too, also the charioteer of the winds
You are the water, as well as the earth; apart from Your manifest form there is nought else indeed!
You, in order to manifest Your own self, by taking a universal form
Of mental bliss substantial, do assume the role of Siva-bride, and thus triumphant rule.

What is in the Numerator is also in the Denominator.
Here the Denominator is filled with Shiva Kanyas (Shiva-maids).
The Devi is always manifesting horizontally, having an extreme lower limit,
and the young women have their place here as the Devi's attendants.
But there is no Brahma Parinama.
We are at the Absolute Negative and nothing is left over in the Numerator.

P16

I adore that Siva ultimate, as placed in Your willing centre, shining with the brilliance
Of millions of suns and moons, whose flanks are illumined by the light of the intelligibles beyond;
Whom, worshiping with devotion, lifted beyond the reach of sun, moon and fire,
In that shining domain above all need, one lives indeed in that bright world of light

Now we begin with the Chakras: here it is the numerator Ajna Chakra,
with the sun and moon within it. This is bilateral symmetry.
"Inside Your Ajna Chakra I find the brightness of Shiva (millions of suns and moons)".
The two sides are illumined by this ultimate mind-stuff.
The devotee is raised to an "other-worldly ground" at the Omega Point (Sahasrara Chakra) at the positive limit, by worshiping in Ajna Chakra.
Permission is required of Parvati, it is her Chakra.
The content is Shiva, the container is Parvati.

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SLC2-P16 - VERSE 36

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In Your Vishudhi Chakra, crystal-clear and sky-generating,
I adore Siva and the Goddess also, with a parity of status with Siva
By whose combined, streaming, moonbeam-like fluorescence,
With banished inner dross, like a female partridge, the world hereunder shines.

Here, the Visuddhi Chakra is clear and shining.
Here moonbeams stream downward; in VERSE 36 they were radiating.
Again this Chakra is "Yours", (the Devi's).
Visuddhi Chakra comes in at the level of akasha - space or ether.
Shiva and the Devi have final equal status.
The flowering radiance of these two together, a descending light,
has a resemblance to the moon - it is subjective, more interior.
There is no inner dross at this level - it is "dusted off".
The Chakora bird (partridge) is the enjoyer of all this, drinking it in.

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SLC2-P16 - V37

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I adore those twin swans, intent on enjoying the nectar
Of the lotus blooming within the consciousness of certain great ones,
Moving within whose minds as a result of their elaboration, the maturation
Of the eighteen arts takes place freed from dross, their goodness extracted as milk from water.

Anahata Chakra. Here two swans are floating on the milk ocean of Wisdom -Value: they are Shiva and Parvati.
They drink the honey from the heart of the lotus.
Anahata is the "Eternal Now"; the crossing of the vertical and horizontal axis.

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SLC2-P16 - VERSE 38

SLC2-P17

In the lake of milk of the minds of some great men, the Virtual (Devi) and the Actual (Shiva),

in the form of swans, are drinking the honey, leaving the dross behind.
By this, all the 18 artistic disciplines in the Absolute become matured or perfected.
The two swans cause their maturation, and drink their essence.
Things extraneous to wisdom are left behind.

O Mother, I praise, placing in Your Svadhisthana the fire of sacrifice
Ever looking upon it as the great fire of doom, and placing there her also called Samaya,
So that when the worlds are burning due to his anger,
Her mercy-moist regard renders to it the cooling touch of early spring.

Swadhisthana Chakra - The base of the Devi.
The word translates as "one's own base"- within the scope of existence.
Here there are two principles: burning and cooling.
The eternal fire of destruction is due to the joint regard of these two

- the world is burnt because of Shiva's great anger and the Devi cannot but participate, since this Chakra is fire.
This Denominator fire is meant to cancel the Numerator fire of Shiva.
But the Devi's glance gives a certain wintry aspect to the picture.

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As found in certain contemplatives who take full refuge in Your Manipura,
I adore that dark cloud of Yours, as traversed by forceful lightning,
Banishing darkness and shining, bursting into sparks with the varied gem-decked brightness of Indra's bow,
While over the three worlds, agonised by the heat of Siva-sun, it sheds its showering waters.

Now, the Manipura Chakra: "With great force, having the power of lightning - those rays which are the enemy of darkness...."
The rainbow is a manifestation of the power of the Devi.

Your Manipura is called "dark" because it is more ontological.
Thus, the burning earth is cooled and allowed to exist - the three worlds are preserved.

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SLC2-P17 - VERSE 40

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P18

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I meditate on Your new self, as placed at Your Muladhara, together with Samaya,
Given to her light-step dance, as also that great bold-step dancer;
Giving expression thereby to all nine aesthetic interests, thus by their joint lordship,
By mercy ordaining the rebirth of the world, they confer on it the renewed status of having both father and mother.

Now, the Muladhara Chakra.
Shiva and the Devi dance here - it is the foundation, the beginning.
Samaya is the female Absolute of the Samayins.
"Lasya" is the dance of Samaya: it is horizontal, like a wavelength.
By these two partners together the whole world is re-created by kindness.
Each becomes the mistress or master of the other.
The world began to have a new status of having parents - no more is the world an orphan.
The vertical axis becomes the parenthood.
They are parents "by mutually possessive lordship.

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SLC2-P18 - VERSE 41

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

"Having attained to ruby-hood, (red, magenta, dawn)..."
The Saundarya Lahari proper begins here, coming out of Space (the Akasha), with the sun and moon.
Twelve suns are referred to as ornaments of Her crown, they are Numerator factors.
These 12 suns are very close together - they merge, like the12 months and the seasons.
Do not separate them, but know that there are twelve of them, pressed together into one.
"This crown is golden, O daughter of the Himalayas; anyone who wants to praise you, will he not think of that"?
The rubies reflect on the crescent.
He is saying what any Indian poet will begin by saying: that there is this ruby light reflecting on the crescent moon.

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SLC2-P18 - VERSE 42

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NOTE THAT THE ABOVE STRUCTURE IS MISTAKENLY TITLED 41B WHEN IT SHOULD BE 42B

THIS WILL BE CORRECTED

P19

SECTION 1

PRELIMINARY STRUCTURAL DYNAMISM.
1) Vertical-Horizontal
2) Particle World
3) Quaternion
4) Square-root-of-minus-one Ontology
5) Reflected Glory
6) Erotic Occasionalism
7) Structural Dynamism - KEY VERSE
8) Inner Beauty Unit
9) Series of such Units
10)Ascent and Descent of Values

VERSE 1
The problem is to treat the Denominator side of the first verse so as to be sure that it has a fully cancellable status with the vertical axis of Shiva.
You need both a horizontal line and an Alpha Point reference.

SECTION 2

SRI CHAKRA AND ARUNA

11) Sri Chakra - CENTRAL VERSE
12) Conceptual Versus Perceptual Beauty.
13) Aegis of the Absolute
14) Numerological Structuralism
15) Vedic Devi
16) Magenta Cancellation - CENTRAL VERSE
17) Scintillating and Fluorescent Light
18) Complete Aurora - CENTRAL VERSE
19) Unilateral and One-sided Shakti Worship
20) Finding the Heart Locus

FOR EVERY ONE OF THESE VERSES, THE FOUR FEET MUST BE REVEALED;
THIS IS THE SECRET.

P20

SECTION 3

INTERSUBJECTIVE AND TRANS-PHYSICAL REVERSIBILITY
OSMOTIC INTERCHANGE, COMPLEMENTARITY, ETC.

21) Negative Verticality
22) Reversibility - CENTRAL VERSE
23) Reciprocity
24) Plus and Minus Compensation
25) Alpha to Omega modes
26) Negative Becoming
27) Reversible Ritualism - CENTRAL VERSE
28) Dignity of the Fourth Dimension
29) Ascending to Omega Point Dignity
30) Reversibility of Psychic Dignity

Language begins subjectively, and the way you move the lips is the motor part.
The physical is the moving of the lips; the subjective is what you understand.
Thus, when two people are talking, it is an inter-subjective and trans-physical interchange.

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SLC2-P20 - VERSE 31A

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SLC2-P20 - VERSE 35

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SECTION 4

31) Know-how factors
32) Monomarks and letters
33) Garlands of monomarks
34) Vertical participation
35) Descending set of values
36) Ajna
37) Visuddhi
38) Anahata
39) Swadhisthana
40) Manipura
41) Muladhara

The whole of the Kula-path is passed in review.

VERSE 35 provides the amorphous material for the Chakras.

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P21

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SECTION 5

THE FACE AS DIAL OR INDICATOR OF VERTICAL AND HORIZONTAL FACTORS
THE FACE IS THE INDEX OF THE SOUL

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SLC2-P21 - VERSE 48

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42) Verticalized Absolute - CENTRAL VERSE
43) Omega Point Darkness Cancelled
44) Vertical Line Upwards
45) Bees Around Lotus Face
46) Two Crescents
47) Eros' Bow
48) Day and Night - CENTRAL VERSE
49) Value Cities
50) Jealous Mid - eye
51) The Nine Rasas

The face is the index of the soul; all art is only the playing of the needle on the dial of the face.
The most important thing is that someone is shooting arrows, and there is nothing to do but to learn how to fall down in the right way.
Forbidden fruit, concupiscence, original sin etc. are all dealt with properly here.

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P21

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SECTION 6
FOUR GRADES OF STRUCTURES SUPERIMPOSED ON THE FACE

52) Eros' Arrows Verticalized (i.e. homogeneous in the vertical)
53) Homogeneous Structures
54) Flux of Three Gunas
55) Open and Shut, Figure 8

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SLC2-P21 - VERSE 55

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56) Four-leaf Clover Structure - CENTRAL VERSE
57) No Direct Favouritism
58) Structural Dynamism Within Four Limits
59) Two Chariots
60) Medium and Message

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P22

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VERSE 59 (In review)

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

The gold ear ornaments of the Devi are described here as reflected in her face, thus yielding four wheels.
These are the 4 wheels of the chariot, with two real and two virtual wheels.
This is the chariot for Eros to ride in when he fights Shiva.
In the previous VERSE 58, Eros fires his arrows horizontally.
Shiva will descend in a two-wheeled chariot, with the sun and 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, 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 emotional crisis, her eyebrows bending, smitten by love.
The two-wheeled chariot is a verticalized version of the four- wheeled one.
Of the four wheels, the virtual ones are the gold ear-ornaments, since they are ornamental, near the ears (conceptual) and not a part of the Devi.
The reflected rings on her temples or cheeks are sure to be the real ones as they are a part of the Devi herself.
Kama Deva (Eros), in the past verses has been gradually overcoming the face of the Devi.

Now he has succeeded and thinks he is powerful enough to fight Shiva, by virtue of his affiliation with the face of the Devi.

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P23

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SLC2-P23

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VERSE 64

"Incessantly repeated muttering of the groups of qualities of Shiva".
A retrospective review.
"Of hibiscus-red shade, your tongue-tip triumphs"

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P24

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This, your nostril / rod of measure.
Fourier Mathematics.
Fancy and fact.

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P25

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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.

A dialogue between Mukambika and Saraswati, between Numerator and Denominator,

with protolanguage on the Denominator side and metalanguage on the Numerator.
The stretching of the ears means that Saraswati is saying something very difficult to understand

and that Mukambika expresses herself with protolanguage by shaking her head - thus the jingling of the ear ornaments.
There is a telephone call from Saraswati to Mukambika, when great secrets are given; this is metalanguage.
Mukambika then responds that she understands by using protolanguage.
"Eva" means: "It looks as if it is a response": so it is still an analogy, it is still vertical:

there are no goddesses with a status of reality talking in the horizontal.
Thus there is no duality, there are no two goddesses, and it is simply structural.

"Follow anything wholeheartedly, and you will get the truth."
This is because the people who first discovered 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.

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P26

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VERSE 59 continued.
Shiva's face is the whole globe, with his feet firmly planted on the sun and moon.

There are two equations:
One Denominator - Eros and the face of the Devi.
One Numerator - Shiva and the conceptualized globe.

"Fighting" can only be a vague way of meaning opposing, hitting or shaking up.
Everything has to be shining and reflecting for purposes of schematismus or structuralism.
Thus Eros mounts the chariot of the face:
The wheels are the ear ornaments and their pale reflection in the cheeks, where they are horizontalized.
Shiva is the counterpart - his circle is the globe, he is standing on the sun and moon.

He is a hypostatic entity and has a conceptualized basis.
Then the face of Shiva has to come to the face of the Devi:
Eros is the hero, while Shiva is only "prepared" to meet the attack, although the attack may be only for one moment,

when Eros and the face come into the vertical axis.
The Numerator and the Denominator are Absolute; 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 excuses the fight? It is "face".
There are no chariots, but only the face of the Devi and the face of Shiva.
This "concept" of earth, with sun and moon behind, is hypostatic - the heavenly orb; it is descending to meet the face of the Devi.

There is no opposition, but only participation: there is only a difference of...(illegible).

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P27

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No man but Narayana Guru can find the meaning of this verse, except perhaps Chettambi Swami (his Guru),

by becoming an absolutist due to circumstances, being illegitimate.
The meaning consists in bringing the globe down to meet the face.
True because it cannot be otherwise: this is rtham, the name of the truth, not the argument.
How do you know the child loves the mother? (mathematical)
It is the same thing as "reductio ad absurdum".
True because you can "touch" it: this is satyam: existent truth. (Satyam as opposed to rtham: two Sanskrit terms for truth )
These are two opposing things neutralising each other: 4/4 = 1; if they were fighting, the result would be 0, but it is not 0 but 1

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P28

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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 contains 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 (Her beautiful thoughts).
There are two worlds here: one inside, one outside.
He has now come from the eyes to the ridge of the nose,

described as the insignia of the family of the Himalayas. ("Your nose pretends to this").
Let it confer blessings on those who are most intimately related to you.
The breath of the Devi is the cosmic breath, intimately related to our own breathing.
The pearls inside the tube are value factors - let it give to each person what they deserve, by way of merit.
These pearls are deep down the hollow tube of the flagstaff; the tube is overflowing with value-pearls.
The moon is a hypostatic intelligent factor and its coolness or warmth causes the pearls, by some ineffable light, to be experienced intimately.
This is a richness of contemplative value-factors.
Whether they are filling up from the bottom upwards or falling down from the 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 "breaths" of the moon, or of the breath of the Devi.
(Here the Guru indicates that all this is tentative - "Don't put the nails in yet").

The Guru refers to Narayana Guru, saying that the three garlands of Subrahmanya;

glass, silver and pearls, are worn by Subrahmanya to abolish the unhappiness which may be inside me.
Shiva went to the lowly hut of a hunter, to find a wife for his son, Subrahmanya. She is the lowliest of black girls.
Hence, Narayana Guru calls him "O you black girl's husband, please enter within me and ease my suffering".

Pearls are inside the tube or bamboo or nose of the Devi.
These represent introspective values.
The tube is a vertical axis.
Kalidasa talks of the bamboo in the Himalayas.
This bamboo has a banner floating high: this is one end of the axis.
At the middle of the tube is the intimacy, which will save the devotee: "just know Brahman (the Absolute), and you will be saved."
He who knows Brahman becomes Brahman.
Joy is there as a glory, as Ananda (bliss).
Moonbeams suggest intelligence; they are hypostatic.
The Devi is described as the daughter of the Himalayas.
The Himalayas are 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 will fall to the bottom, some will overflow and some will stick, due to the coolness of the universal breath.
This is an exchange of hypostatic and hierophantic values.
The moon is presided over by Shiva.
Those who worship the Devi will have the experience of ineffable joy, 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 interaction between the hierophantic and hypostatic aspects.
The glory comes from the Himalayas in the North but the Devi is Dravidian, from the South; Sankara is bringing these two factors together.
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 says the same thing as Sankara, and Nataraja says it again, mathematically.
So, this respiration is a figure-8 - sometimes hypostatic, sometimes hierophantic:

value factors thus sometimes drop to the bottom of the tube and sometimes overflow at the top.

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P31

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SLC2 -P31 - VERSE 61

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"To us, who are standing so near to You..." - it is something intimate,
not the hypostatic banner, but the nose, which is familiar and near the horizontal axis.
The Devi, as a flag, has both symbolic and actual value.
It will immediately bless the devotees - the nose is near the centre of consciousness and near the horizontal axis.
There is respiration in a figure-8, which fills the tube, uniting hypostatic and hierophantic aspects of value.
Absolute value is an interplay within consciousness; it completely fills the vertical axis.
The bamboo flagstaff is her nose; it contains pearls inside and has pearliness outside, because of the abundance of pearls inside.
What does it all mean?
"Hinduism is all a pretence, because they pretend they understand this.
They do not understand; they are telling lies morning, afternoon and evening."
Why pearls inside, and pearliness outside?
Pearls are quantitative and substantive
Pearliness is qualitative and predicative
Pearliness, for the nose, is meant philosophically.
Iridescence is false - it shows the world of appearance, a false world.
The flagpole is a vertical axis: pearls stick inside through the Devi´s breathing.

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 verse.
The Bimba fruit is red. Coral is also present.
"Your teeth are white and reflect the coral colour of the lips...":

the teeth are "ashamed" of being compared to the coral colour.
The magic is the juxtaposition of all these four together:
1) Bimba fruit,
2) Coral, which bears no fruit,
3) Lips of coral colour,
4) Teeth, which reflect the coral colour and are ashamed.

There is VERTICAL participation between the lips and teeth,
HORIZONTAL participation between the Bimba and Coral.
*Adhyasa is attributing something to something else. C.f. prathiti.

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SLC2-P32 - VERSE 62

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P33

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So these four are brought in only for the quaternion structure.
The teeth are ashamed because they are white and pure - "why do you call me a cheap imitation red?"
The delicate interplay between the teeth and lip is the point here.
The teeth are ashamed because their colour is borrowed from the coral.
Magenta glory results from this participation:
this participation between two colours is like the participation between mind and matter.
The teeth are hard, and have a borrowed colour; the lips have the original colour: this is bimba and pratibimba (pratiphalana)

- there are word-plays here in Sanskrit
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?
How can consciousness appreciate the outline of the paddy field?
It is participation between mind and matter.
This occurs by mutual participation on a homogenous ground: this is called samana adhikarana.
He makes a fuss about this because pratyaksha pramana (meaning empirical evidence) is a very important question in Vedanta.
Empirical evidence is not excluded from Vedanta.
There must be a neutral substance between mind and matter.
The empiricist cannot explain this participation between mind and matter without postulating a neutral substance between the two: this is the soul.
This is the neutral monad of Bertrand Russell.
Thus Vedanta is not mere Idealism, but also uses the empirical approach:
thus Plato and Aristotle are put together.
So the teeth are ashamed for 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.
This is much more delicate than you think it is.

"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 also the wrong side.
Re Verification: Sankara wants you to be confused as between the two factors.

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P34

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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.

(WITH UNCLEAR STRUCTURAL DRAWING.)

Having redness by its very nature -
Tava - Your
Sadrsyam - resemblance (by appearance)
Pravaksye - I state (assert)
Janayatu phalam vidruma lata - let it bring about the effect of coral (reef)
Na bimbam - not reflected - or not another fruit (Bimba) which is red of a green leaf (?).
Tad bimba pratiphalana ragat arunitam - made into that deep hue belonging to the pink of dawn, by reflection of its colour.
Tula maddhyarothum - to climb to a middle position, balanced between two rival colour factors.
Katham iva vilajjeta kalaya - why should it not in some way ashamed even by its partial....

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SLC2.P34 - VERSE 62A

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SLC2 - P35

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1 Kali
2 Karali
3 Mari....(illegible)
5
6
7

THE ABOVE TWO PAGES OF STRUCTURES AND TEXT ARE UNREADABLE IN THE ORIGINAL

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SLC2 - P36

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VERSE 62 (continued)

An actual fruit of magenta colour would be ashamed to be 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.
He uses the 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 Advaita.
Sankara plays a wonderful trick here, delicate and beautiful.
Coral is North India, fruit is South India.
It is also to be compared to the two wives of Subrahmanya, one high-caste and one Shudra (low-caste).
(Guru talks about the castes, decides 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..."
Really its own natural colour - "Your" - "One having beautiful teeth".
The similarity between lips and teeth - "I am going to tell you..."
"Let it produce the coral-creeper bearing fruit, not the original, to equalise the two counterparts".

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SLC2 - P37

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"Na bimbam" means "not Bimba fruit" or "not original" - a word play.
The teeth are not the original of the red colour.
The original colour is the coral of the lips.
This is a transferred epithet: e.g. "he spent the whole night on a weary pillow."
Here there is a dialectical interchange between subject and object.
The predicative (the attribute) and the substantive (the thing) are interchangeable.
Here the lips are the original ontology and the teeth reflect the colour.
Suppose the coral had a fruit; it would have been ashamed of the fraction of difference between them.

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WORD FOR WORD
Pravaksye - I am going to tell you
Let the real creeper have a fruit
Na bimbam - not the original of a reflection
Tad bimba etc. - what is reddened by being a reflection of its original
Tulam etc. - the equal scale to mount (?)
Katham iva etc. - in what way should it become ashamed
Kalaya - by a fraction

So, the creeper has its effect - it is a qualitative aspect of the cause.
Red is the original, redness is the effect.
Supposing the coral has an effect upon the truth (originating in the lips).
The teeth are ashamed of the colour of the lips.

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SLC2 - P38

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The Numerator is afraid 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 ground
- sometimes it feels better, sometimes worse. Shame is a confusion.
It is not able to attain the middle ground.
The "shame" is due to a disturbance of the absolute equilibrium.
There is a fractional tilting of the balance, thus; 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 had a fruit - it would be the effect of the coral.
The effect is the result of a specific thing; thus, it is qualitative.
(text almost illegible here)
A fraction of the element of pure shame exists between the colours.
Here we have colour as a cause and colour as an effect - between these there is shame, trying to find a middle ground

- a normalised and renormalised magenta colour.

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SLC2 - P39

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SERIES OF STRUCTURES FROM VERSE 1 THROUGH 41
DESCRIBED AS ANANDA LAHARI MANDALAS

VERSE 1

SLC2-P39 - VERSE 1A

Participation of horizontal and vertical factors.
Homogenous ground; complementarity.

SLC2-P39 - VERSE 2A

Two spiral processes - Vishnu's firm ground. Powder from the Devi's feet.
Three functions.

SLC2-P39 - VERSE 3A

Four types of persons > four types of interest. Quaternion.

SLC2-V39 - VERSE 4A

The square root of minus one.
A refuge.
One cause as against multiple effects.

SLC2-P39 -VERSE 5A

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(Vishnu) - beauty is reflected glory from the Absolute Goddess at the O Point - confuses the Alpha Point.

SLC2-P39 - V6A

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Eros reigns supreme in spring; how Numerator values can have (false) erotic luxury implied and still reign victorious. (The side-glance of Devi gives this power).

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SLC2 - P40

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SLC2-P40 - V7A

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The pride of elephant knobs is found in the Numerator breasts of the Devi.
The Denominator breasts are humble. The waist is slightly bent.

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SLC2 - P40 - V8A

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SLC2-P40 - V8B

A conic section as a Mandala.
Omega has two degrees: Shiva and Parama Shiva.
There is one-to-one correspondence between Numerator and Denominator.
The ocean of value is plenitude itself: Ananda or bliss
- the crystal is formed therein for our meditation.

SLC2-P40 - V9A

Break through all these to the 1000-petaled lotus.
Here Sankara revises Patanjali.
He is anti-Samkhya.

SLC2-P40 - V10A

A stream of nectar flows from between the feet. All values are ramified.
We have here top view and side views.
There is a Kundalini snake of 3 1/2 coils

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SLC2-P40 - V11A

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The Sri Chakra, a Mandala

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SLC2 - P41

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SLC2-P41 - V12A

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Neither poets nor austere men realise that neither austerity beauty nor luxury beauty is the same as Absolute Beauty.

SLC2-P41 - V13A

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Absolute Beauty is independent of physical attraction.

SLC2-P41 - VERSE 14A

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A review of Chakras - placing the feet on the Sahasrara; a revision by Sankara.

SLC2-P41 - V15A

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Equating experience with knowledge.
Experimental Denominator and Axiomatic Numerator.
Put them in two compartments and equate them.

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SLC2 - P41

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SLC2-P41 - VERSE 16A

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The Aruna colour of dawn and of the lotus.
Nominator words correspond with the Denominator experience of the Aruna colour.
Saraswati as Numerator (poetry etc.). Aruna colour fills the whole picture.

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SLC2 - P42

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SLC2-P42 - VERSE 17A

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Numerator moonstones disperse,
Denominator moonstones are pressed together.

SLC2-P42 - VERSE 18A

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Urvasi is a beautiful, shy, woman of heaven. The Aruna (magenta) colour is Absolute,

independent of the Numerator; it is both an idea and a reality.

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SLC2 - P42

SLC2-P42 - VERSE 19A

Cancelling the defect of Vamachara (the "left-hand" path: Kaulins etc.) by the Numerator sun and moon.
Balance the Kaulin's Devi with a Numerator, conceptualised Devi.

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SLC2-P42 - VERSE 20A

The poison of serpents and fever are cured.
Moonstone is a stream of Intentionality flowing from the Devi in the moonstone Bindu (central locus).
The power of the Goddess is uniformly homogenous.
Numerator and Denominator can interact.

SLC2-P42 - VERSE 21A

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There is no gradual promotion from chakra to chakra; it is a stroke of lightning.
Slow progress in spirituality is discarded.
Put all chakras into one integrated whole.

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SLC2 - P43

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SLC2-P43 - VERSE 22A

"Bhavani tvam" ("let me become You")- before these words of prayer are out of the devotee's mouth, the boon is granted.
Intentionality is respected above all relativistic prayers.
The light of the boon is complete - also having the Numerator factor included in it - and becomes the Absolute.
Hypostatic values are added as being secondary.
It occurs even before the sentence is completely uttered.

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SLC2-P43 - VERSE 23A

The crown and the third eye compensate for any weakness in the Numerator by the Denominator.
This is reduction into Absolute Unity.
Three compartments are abolished into the quaternion.
The whole ground becomes magenta and homogeneous.

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SLC2-P43 - VERSE 24A

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Sada Shiva, after destroying, always obeys the eyebrows of the Devi.
Total negation is denied validity.
You cannot say that Brahman (the Absolute) is nothing.

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SLC2 - P43

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SLC2-P43 - VERSE 25A

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"Puja-Puja" - that Puja offered by the three gods.
It is Absolute as opposed to relativistic worship.
Transcend the three Gunas or nature modalities (this is implied).

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SLC2 - P44

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SLC2-P44 - VERSE 26A

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Shiva dances with the Devi, because of her chastity; horizontal factors are abolished.
The Pati - Sati (Shiva-Shakti) union avoids final dissolution.
There is reciprocity of Sati and Pati (the faithful wife and Her spouse).

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SLC2-P44 - V27A

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Whatever you do as Karma (action) is to be seen as worship - put together - of the Devi.
It is an equation between Self and Non-Self.

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SLC2-P44 - VERSE 28A

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The sacred thread saves Shiva.
This is double negation of evil by an essentially negative Goddess.
The power is at the Alpha Point.

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SLC2-P44 - V29A

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The attendants, etc. An ascent from the immanent to the transcendent with three possible obstructions from hypostatic gods.

A momentary total situation is revealed.

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SLC2 - P45

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SLC2-P45 - VERSE 30

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Tat Tvam Asi (You Are That) is superior to all worship whatsoever.
This whole destruction will be waving as Puja to me; thus the worshiper is worshiped.
The wealth of Shiva is as nothing. The tables are turned.
The reversibility of the equation is implied in Tat Tvam Asi.

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SLC2 - P45

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SLC2-P45 - VERSE 31B

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Two rival sets of expertise - to unmake and remake - are referred to here.
It offers a firm ground to those who want a chance to work out their salvation.
Shiva evaporates everything in the form of effects.
The Devi provides some firm ground, some reality, by creating a cross-section to the general flux of life.
She is providing a horizontal axis.

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SLC2-P45 - VERSE 32A

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Mentions all limbs, by 3's. Shakti, Kama, Shiva, Kshita (earth), moon, sun.
Hamsa, Sakra, Vishnu. Para, Mara, Hari.
This is taxonomy - a nomenclature of categories structurally understood and named with letters for each - in groups of 3, punctuated by "hrim" (heart).

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SLC2 - P46

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SLC2-P46 - VERSE 33A

Revalued Vedism
Agnihotra (fire-sacrifice) for enjoyers of life (Vedic Brahmins).
This Brahmin wants Maha Bhoga (great enjoyment), making hundreds of offerings and always telling beads. This is Vedism revised and excused.
Maha bhoga is great enjoyment; if he has attained maha bhoga, then he is not all bad.
Maha bhoga is Absolute. Put the Numerator and the Denominator together.
"How to be a Vedic ritualist on Absolutist lines."

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SLC2 - P46

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SLC2-P46 - VERSE 34A

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Perfect complementarity. Equal transparency or homogeneity of Value.
Sun and moon are principles in the Numerator relation - relata complex.
"By common features, you participate mutually".

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SLC2-P46 - VERSE 35A

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Now he is swinging to the Denominator side.
Descending dialectical movement within the consciousness of the Devi, without losing absolute parity with Shiva.
Shiva descends without changing status.
He descends within Her consciousness, without losing Absolute content.

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SLC2 - P47

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Here the Chakras begin with Ajna Chakra.
Bilateral symmetry is recognised. The two sides are bright.

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SLC2 - P47

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SLC2-P47 - VERSE 37A

This picture flowing and fluid - "those fully dusted of all dross within the mind".
The Chakora is Denominator. Visuddhi Chakra.
There must be an enjoyer - the Chakora bird "drinks" the moonlight.
The Devi is sitting in perfectly equal status.

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SLC2-P47 - VERSE 38A2

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There is a lake in the mind of some great man - two swans are drinking from a lotus - they leave the dross behind.
Horizontally, there is perfect parity and bilateral symmetry.
Anahata Chakra - where vertical meets horizontal.
The 18 branches of learning give completeness and maturity.

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Swadhisthana Chakra - A Denominator glance cools the burning worlds.
They burn by the joint glance of the Devi and Shiva's anger.
There is a paradox here between fire and water.

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SLC2 - P48

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SLC2-P48 - VERSE 40A

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Manipura Chakra - the Numerator factor is less strong here - although the black cloud is pregnant with the enemy of darkness - lightning.
Lightning has a rainbow which is Indra's bow.
"I worship the man who meditates on the Manipura..."
The Numerator heat of burning is balanced by cooling rain.

Muladhara Chakra - the earth. Shiva and Shakti are dancing
Tandava and Lasya - the two different dances of Shiva and the Devi - are vertical and horizontal waves.
Everything comes into being from this dancing.
As creators, they change the status of the universe as parents: they are the first parents of humanity.

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