Saundarya Lahari Notes

SOURCE SLP1

SOURCE SLP1 is a manuscript by Patrick Misson, dated "May 16 / 72"
titled " Saundarya Lahari"


PAGES 1 TO 59 notes on various works of Kalidasa, etc., as well as on lessons the Guru was conducting simultaneously with those on the Saundarya Lahari. There are frequent cross references and analogies drawn between different texts.


CONTENTS


P1- V99, V1


P7- V7


P10- V15, V24, V25, V27


P12- V30, V31


P14- V100


P17- V32


P18- V34


P19- V35, V36


P20- V37, V14, V15, V16


P21- V36


P22- V37, V38, V39


P23- V7


P24- V33, V32


P25- Chakras from Saubhagya Lakshmi Upanishad


P30- Chakras from Yoga Raja Upanishad


P40- Main Themes of Saundarya Lahari


P45- V32


P46- V33, V32


P48- V32, V33


P49- Kalidasa's Malavikagnimitra


P52- V32


P53- V33


P55- V13, V14


P56- Malavikagnimitra




SLP1 - P1


VERSE 99
"Beautiful Body" - this comes from placing yourself at the O point.
Normalisation is two - sided.



" Esprit Affiné" is numerator,
" Esprit Géomètrique" is denominator.



This is mentioned here because it denotes complete normalisation at the O point, where they benefit.


VERSE 1 The starting postulates are:
1) Shiva cannot pulsate without the Devi.
2) Brahma, Vishnu and Shiva worship the Devi.
3) The worshipper is outside the religious context.
On this all the 100 verses are built.


SLP1 - P2


There is a strict methodology in the Saundarya Lahari, as in
Descartes, where "Res Cogitans" is vertical and "Res Extensa" is horizontal.
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Why do you want the Absolute?
The twentieth century is relativistic.
The normalisation of the relative and the Absolute is in the Saundarya Lahari.
"Long life" - everyone wants to live long.
Mukambika (the silent Devi) is normalised; the medium and the message meet :
this is protolinguism, this is the final paradox.


SLP1 - P3


Cancellation involves a vertical axis.
Complete cancellation is Absolute, there is no return.
In the Saundarya Lahari there are different grades of cancellation: the marital string, crowns, Indra, the most high God.
The final cancellation is the Vidyarthi, or Wisdom-seeker, asking for no relativistic pleasure, only for the gift of poetry or Vidya (wisdom).
Push cancellation beyond the upper and lower limits, push it beyond any horizontal taint.


SLP1 - P4


The Vidyarthi does not seek even salvation, only the gift of poetry.
"Put Your feet on my head" - an analogy with this is that the Alpha point of one octave is the Omega point of a lower octave.
Burn the seed of rebirth, planted at the base of the vertebral column.
The nearest cancellation is of hunger and food - it is Absolute at a certain level.


This is illustrated by the following example:
You faint at the dentist's:
You open your eyes :"who is this man?" this is Manas, (consciousness at a basic level)
below is Pranam (breath),
below is Annam (food)
below is Vijnanam:"I owe this dentist 5 rupees, I must run away".


SLP1 - P5


Ahamkara (not in this series) is similar - it is ego- consciousness - slightly bad.
(This example is usually used by the Guru to illustrate Manas, Buddhi, Chitta, Ahamkara )


Each one of these four is a cancellation.
Food with hunger,
Fainting with drawing breath, etc.


In mythical geography, above Manas Sarovar ("Mind-Lake") is the Sapta Rishi Mandala, where the seven Rishis pluck lotuses from Manas Sarovar and cast them upwards.
In Manas Sarovar, girls are bathing and painting their eyes in mica-rock mirrors.


SLP1 - P6


"Extremely jealous" - jealousy is sometimes bad, but is also a sign of concern for the wife.
Parvati is the ultimate limit of constancy.
Shiva is extreme jealousy.
When these are cancelled, it gives you great delight and absolute beauty, nothing is left out.
ONE WHO CONTRADICTS HIS OWN NATURE GOES MAD.
MADNESS IS FALSEHOOD TO ONESELF.


LSD is the denominator vision,
the Numerator vision is outside.


SLP1 - P7


There are 18 Kalas, nine visual, and nine auditory.
There are nine expressions - see VERSE 51


Tagore - art is when two lovers want to say "I love you" and cannot.
The poet, who is hiding in the bushes gives them expression for their sentiments.


VERSE 7
Kvanat kanchi dhama....
Why are the breasts like the frontal bulges of a calf elephant?
How does the change from slimness to heavy breasts take place?
It is an ascending dynamism, not descending.
The purushikaa (positive version of the Devi)emerges because of the change to the fourth dimension.


SLP1 - P8
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slp1-p8-v7

 

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SLP1 - P9


THE FOUR OBJECTS HELD BY THE DEVI IN VERSE 7: The goad and noose regulate vertical progression.
The sugar-cane bow and flower arrow are for piercing the hearts of people.
The bow and arrow are symbolic monomarks frequent in the Upanishads.
Occasionalism is the interaction and participation of mind and matter.
(see Descartes)
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slp1-p9-v14

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A year is verticalized upwards.
Reciprocity - compensation - complementarity are all present.


SLP1 - P10


VERSE 15
Honey, milk and grapes - this is still a sensuous paradise.
"Worship even once" perhaps there is a very slight satirical touch here.
The matted hair is negative.
(John Stuart Mill - the principle of agreement and difference, Uha-Apoha in Sanskrit - see Jnana Darsanam in the Darsana Mala and the Science of the Absolute.


SLP1 - P10


VERSE 24
Sadashiva (supreme Shiva) is the highest Omega point, but has to be cancelled against the Devi at the Alpha point.


VERSE 25
There is a footstool, not a throne here, it is ontological.
It is jewelled, which confers dignity on it.
This is the cancellation between hierophany and hypostasy.
See in the Gita, there is a tree with roots below and above.
The twin feet are above, the stool is below.


VERSE 27
These are ensembles - see Cantor.
There is one-one correspondence.


SLP1 - P12


PROBLEMS THAT NEED EXPLANATION:
1) The wife is kicking Shiva
2) Eros mocks Shiva
3) Her behind is cancelled
4) She is teaching cygnets how to walk (see Kovillan and Kannegi)
(Sillipadhikaranam - gem-set anklets.)
5) A three-wheeled and a four-wheeled chariot.
- Shiva is mounted on a chariot, with the earth as the front wheel
6) What is Shiva's status without the Devi?
7) What is the difference between Subrahmanya and Ganesha?


VERSE 30 AND 31
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slp1-p13-v31


Sankara rejects benefits, his position is "Tat tvam asi"- "You are that (the Absolute)" .
Puja (worship)can be done to Sankara himself, because there is an inter-physical and trans-subjective transformation.
She imitates the "jhang" sound of the anklets with Her voice: this is Numerator.
The medium is the message.
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SLP1 - P14

slp1-p14-v31

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THERE ARE THREE LEVELS OF WORSHIP: These are three grades of spirituality:
1) Doomsday dissolution
2) Shiva confers Siddhis (psychic powers)
3) The Devi confers Anima (psychic power)


VERSE 100
Moonstone water has an upward effect as well as a downward one.
Ramanuja's Brahma Sutra Bhasya (commentary) says that you can sprinkle fire as well as water : similarly here.
Water in the moon? The moon is feminine and can also be called watery.


SLP1 - P15


Tantra is centred on Maithuna Maha Bhogya.(great sexual enjoyment):
here this is treated as athilagu or worthless.
The Saundarya Lahari supplies a Numerator:
Sun and moon are her twin breasts.
Ramakrishna learnt his Vedanta from a Sudra Sannyasin (low caste ascetic).
One should exercise common sense and also have a willingness to believe;
one should be between the two, an attitude of "Maybe, maybe not".


SLP1 - P16


Separate a parameter from the phenomenal world
Separate Shiva from Shakti.
The 64 know-how factors - the Shaktyas talk of 64 Mahanirvanatantras.
Note that 64 is 8 times 8
There are books in various libraries that claim to be teachings of Shiva to Parvati.
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slp1-p16-v32.

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There are 64 degrees in the quaternion.
The Sri Chakra has 8 and 16 petals.


SLP1 - P17


VERSE 32
A God can be represented by a letter or a mantra.
The Goddess is the totality of the Absolute.
What you ask for, you receive.
There are heart monomarks : all of them meet in the heart.
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slp1-p17-v32

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VERSE 32
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slp1-p17-v32a
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A Brahmin is offering ghee oblations into a sacred fire;
Each drop of ghee is a bead.

SL P1 - P18
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slp1-p18-v33.
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VERSE 34
The Goddess confers on Herself hypostatic status and cancels Herself against Shiva.
The hypostatic side is "sinless".
At the other side of this is double negation.

SLP1 - P19

VERSE 35
She becomes the wife of Shiva, She returns from being a great Goddess to the first dimension as a humble wife.
(In Kalidasa's play, the perivrajika says the Queen will win - how does she know in advance?)

VERSE 36
"Sun and moon"
There is a parallelogram of forces - the result is equilibrium all the same.
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slp1-p19-v36
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The Ajna Chakra has the moon also.
Ajna is lifted out of dross and impurity.

SLP1 - P20

VERSE 37
Visuddhi Chakra - the cancellation takes place inside a female partridge.

VERSE 14
365 days are arranged vertically

VERSE 15
Cancellation of the medium and the message to make poetry.
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slp1-p20-v15


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One who can think of Saraswati in a very real sense, with matted hair,
can produce poetry with the Numerator equivalent of honey, milk and grapes.

VERSE 16
Eroticism gives poetry.

SLP1 - P21

VERSE 36
Fuse the sun and moon. "Millions" means intensity of light; beyond a certain point, quantity turns into quality.
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slp1-p21-v36.
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SLP1 - P22

VERSE 37
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slp1-p22-v37.


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The partridge is female because the female is more negative than the male.
The cancellation here is closer together than in the previous verse.
The moonlight is subjectivised by the female partridge.

VERSE 38
Horizontal cancellation of the two swans - central

VERSE 39
Suffering is cancelled by the breeze, like a drop of water on a wound.
A coincidence is an approval from God.

SLP1- P23

VERSE 7
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slp1-p23-v7
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SLP1 - P23

slp1-p23-v7a


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SLP1 - P24

A CHAKRA - "A WHEEL"- IS TELEOLOGICAL,
AN ADHARA IS ONTOLOGICAL.

VERSE 33
Laksmi and Eros are on the numerator side.
Wealth (Lakshmi)
Source
Eros

VERSE 32
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slp1-p24-v32
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SLP1 - P25

LIST OF CHAKRAS FROM SAUBHAGYA LAKSHMI UPANISHAD.

1) Brahma - root of basic desires
2) Swadhisthana - six petalled, west facing phallus
3) Nabhi (navel) - crore of suns and lightning
4 )The Heart - eight petals facing downwards phallus at centre
(common to all these chakras (?))
5) Throat - Anahata, Ida and Pingala
6) Palate - tenth opening - void - the mind dissolves
7) Ajna
8) Brahma Randra - the wheel of Nirvana
- an opening shaped like a thread of smoke
9) The Wheel of space - a lotus of sixteen petals, facing upwards

SLP1 - P26

LIST OF CHAKRAS ACCORDING TO THE YOGA RAJA UPANISHAD.
1) Brahma Chakra
2) Swadhisthana Chakra
3) Nabhi Chakra (navel)
4) Hridaya Chakra (heart)
5) Kantha Chakra (neck)
6) Taluka Chakra (soft palate)
7) Bhru Chakra (between eyes)
8) Brahma Randhra (absolute hole)
9) Vyoma Chakra (sky-generating)

SLP1 - P27

Sankara is not following the usual lines of Tantric or Yogic texts.

There are four Yogas in the Yoga Raja Upanishad:
Mantra Yoga - Samadhika
Laya Yoga - Meditation
Raja Yoga - Breath
Hatha Yoga - Seat

(Raja, literally "royal", means "public": "Raja Margam" means "public highway".

SLP1 - P28

THE SRI CHAKRA:
Nine months of pregnancy.
Penis and vagina: it is vulgar to say that one is more important than the other.
(This refers to the nine ascending and descending triangles in the Sri Chakra)

SLP1 - P29

SAUBHAGYA LAKSHMI UPANISHAD

DESCRIPTION OF THE CHAKRAS

1) Wheel of Space - 16 petal lotus facing upwards - pericarp in
the middle like triple peaks - centre of eyebrows.
Instrument and fulfilment of all desires
2) Brahma orifice - wheel of Niravana, opening like a thread of
smoke - a seat of meshes - yielder of release - wheel of
Supreme Brahma
3) Brow - size of thumb - eye of tongue - skull root - power
of words
4) Palate - immortal elixir - tiny bell of the uvula - meditate
on the void
5) Throat - breadth of four fingers - left, Ida; right, pingala -
centre Susumna, clear of colour - Anahata, the unstruck note
6) Wheel of the heart - eight petals facing below - in the
centre, a phallus of light - a swan beloved of all - enchants
all the worlds
7) Navel - wide whirlpool - crooked like a serpent - serpent
power like a crore of suns - lightning - yields perfections -
called Manipura
8) Swadhisthana - six petals - centre is west facing phallus -
resembles a sprout of coral - seat of the girdle - power to
attract the world
9) Basic Wheel ( of Brahman) - threefold circle of waves - seat
of desires - fire

SLP1 - P30

YOGA RAJA UPANISHAD

DESCRIPTION OF THE CHAKRAS


1) Vyoma Chakra (sky) 16 petals - feminine principle of knowledge
2) Brahma Randra (hole) - gives Nirvana - thin thread of smoke -
watery-blue consciousness
3) Eyebrows - Bindhusthana - yields light
4) Uvula - Ida - Pingala
5) Neck
6) Heart
7) Navel
8) Swadhisthana
9) Brahma Chakra

BOTH UPANISHADS USE THE SAME CHAKRAS,
BUT ONE IN THE NAME OF A MALE GOD,
THE OTHER IN THE NAME OF A FEMALE.

SLP1 - P32

VERSE 61
Nose ridge, flagstaff and tree.
Mixing Numerator and Denominator.
Flagstaff = reputation.
Is this the source of the Chakras? (nodes in the bamboo flagstaff)

VERSE 9
Sahasrara, or 1000 petalled lotus.
VERSE 10
Kulakunda.
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slp1-p32- v9-10

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These two, the Sahasrara and the Kulakunda, are mentioned in other parts of this work.

V9 - Sahasrara
V36 - Ajna
V37 - Visuddhi
V38 - Twin Swans
V39 - Swadhisthana
V40 - Manipura
V41 - Muladhara
V10 - Kulakunda
V11 - Sri Chakra - not included in the series

TRAGEDY IS THE AESTHETIC VALUE OF PITY.

SLP1 - P34

Tragic and Absolutist are the same.
But the Sri Chakra is not tragic, it is an analysis.

Brahma Chakra is a black hole
Brahma Randra is a white hole

SLP1 - P35

Beauty is made up of line, light and colour.
The Brahma Chakra and the Brahma Randra are omitted
- they are mathematical and not emotional.
If you have the correct focus, you do not see anything
- it must be a little over- or under-focused.

Objectivity and Subjectivity must be adjusted.
Cancellation means only "Tat Tvam Asi" ("thou art that" (the Absolute)
- which means you cannot see anything.

SLP1 - P36

Brahma Randra - the "smoke" is a touch of negativity.
There is a slight asymmetry between the Saubhagya Lakshmi and the Yoga Raja Upanishads - as between male and female.
Sankara will not allow this slight asymmetry.
The Chakras are different.
There are slight asymmetries from the neutral point.

SLP1 - P37

Anahata - the two swans mean an undisturbed neutral position.
Ajna Chakra -
Visuddhi is slightly subdued.
Swadhisthana - sisira - means a cool morning breeze.
The Chakras are different from Platonic Idealism.

SLP1 - P38

VERSE 65

Subrahmanya refuses Camphor - negative.
Chewing = fighting.
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VERSE 71
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slp1-p38-v71

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SLP1 P39
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slp1-p39.

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SLP1 - P40

MAIN THEMES IN THE SAUNDARYA LAHARI
Cliché
Ideogram
Hieroglyphic
Iconography
Protolanguage - Metalanguage
Medium - Message
Semantics - Semiotics - Syntactics.
Connotation - Denotation
Metaphor - Simile - Synecdoche
Monomarks
Algebra of Geometry
Geometry of Algebra
Graphs and equations
Mantra - Yantra - Tantra

SLP1 - P41

THE MALAVIKAGNIMITRA OF KALIDASA
Malavikagnimitra - her foot touches the lotus - Cancellation.
different kind of merit?
Why does the dancing master not thank Q for the compliment?
It is horizontal, he only dances, and he does not require a compliment.
The Brahmin's tricks are part of the consciousness of the Absolute
- he is the cleverest person in the play.
The king says that there is a vertical relationship between himself and Malavika. She touches her body.                                   The bracelet has passed from him to her - the relationship is firmly established but vertical.
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slp1-p41

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SLP1 - P42
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slp1-p42-1

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slp1-p42-2
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SLP1 - P43

slp1-p43.

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Diluting the digestive juices and wasting them is also a crime.

SLP1 - P44
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slp1-p44a

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slp1-p44b
STRUCTURE SLP1-P44B
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slp1-p44c.
STRUCTURE SLP1-44C

SLP1 - P45

SAUNDARYA LAHARI

VERSE 32
1) Ka E I La Hrim
2) Ha Sa Ka Ha La Hrim
3) Sa Ka La Hrim

Ka is Kama
Ha is Hara
Hrim is the heart
After each series, the Hrileka (Hrim)is attached , making three garlands.

SLP1 - P46

VERSE 33
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slp1-p46-v33.
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VERSE 32
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slp1-p46-v32

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SLP1 - P47
slp1-p47

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Ananda - Axiology
Chit - Methodology
Sat - Epistemology

SLP1 - P48

VERSES 32 and 33

Nama Vayanata - give name to the Goddess, Mantra, Light-waving.
Maha Bhoga Rasikaa - enjoyment - Lakshmi, Yoni, Eros.

SLP1 - P49

VERSE 15
Saraswati with her matted hair is equated with sensuous honey, milk and grapes. Possibly there is a slight mockery of the Brahmins here.
Absolutism rejects all benefits.
Brahministic worship is rejected.

MALAVIKAGNIMITRA
Act 3

Sorrow is felt because he is not in the fourth dimension.
If you enter the fourth dimension, sorrow goes away.

SLP1 - P50
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slp1-p50

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Eros causes attraction towards the negative side,
but you feel you want to meet the girl on the positive side.

SLP1 - P51

The arrow makes you feel that you want something on the positive side.
The only way is to put yourself on the negative side
and say that you do not want her.
Both soft and hard at once.
A flower, seemingly harmless, gives rise to an ache.
The real paradox is that you seek her on the plus side, and she is on the minus side.

SLP1 - P52

VERSE 32
The Kaulists are non Brahmins.
"Naming Her component limbs..."
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slp1-p52-v32

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SLP1 - P53

VERSE 33

The Samayins are Brahmins
"Seekers adore you..."

SLP1 - P53
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slp1-p53-v33

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Maha Bhoga (great enjoyment) gives an absolute dimension to Bhoga (enjoyment).

SLP1 - P54

CHAKRAS:
Sankara does not exactly conform to the Saubhagya Lakshmi or Yoga Raja Upanishads, because he wants to keep close to the actual - that is, the seasons etc.

SLP1 - P55

VERSE 13
Girls pursuing an old man - the belt is the binding force of modesty.
There are binding forces at different levels.

VERSE 14
"56 for earth..." etc. there are six levels, with the seventh level at the twin feet.
Above and below are the Brahma Chakra and the Brahma Randra, these make nine.

SLP1 - P56

MALAVIKAGNIMITRA
ACT 3
The king only now begins to see her, before it was an infatuation only in the mind.
This type of feminine beauty with broad hips and slender waist is like the Sri Chakra - it is only abstraction through highly exaggerated language.

Vertical maturation is Shiva -He drinks poison and survives.
Horizontal maturation is like a ripening fruit.

SLP1 - P57

The Malaya (mountain) breeze, laden with pollen and water,
causes longing without reason - cause and effect combined
sat - asat: means existent - non existent,
anirvachaniya: means unpredicability

Pollen is masculine
Water is feminine
Together they cause fecundation.
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slp1-p58-v32

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SLP1 - P59

VERSE 41

The Tandava and the Lasya of Samaya.
Source SLP2
.
Source SLP2 is manuscript in the hand of Patrick Misson.
It is undated, probably from 1972.


PAGES 1 TO 30 - SLP2 deals mainly with the Guru's commentary on Kandukavati.
Mainly dictated by the Guru for presentation at one of the World Conferences for Unitive Understanding, in 1971 or 1972.
Source begins on page 4 with a loose leaf numbered (line) 58, inserted here in the text at the commentary to that line.


CONTENTS


P4 to P30 Kandukavati, from Dasakumaracarita


SLP2 - P4




AUTHORITATIVE SOURCES OF VEDANTA ARE:
The Upanishads,
The Bhagavad Gita,
Sankara,
Kalidasa,
Narayana Guru,
Nataraja Guru.
Structuralism is found explicitly or implicitly in all of these.
Nataraja Guru: "My task in life is this structuralism"


Here we have a structural view of Beauty, which is the subject matter of aesthetics.
Here we have a woman, a dancing girl.
"THE DANCING GIRL IS THE SECRET OF ALL INDIAN SPIRITUALITY": NATARAJA GURU.
There are dancing girls represented on the floor of Mukambika Devi temple.


A WOMAN IS A COMPLETE PSYCHE.


"THE PROPER STUDY OF MANKIND IS WOMAN" : NATARAJA GURU.
BIOLOGICALLY, THE FEMALE IS THE TYPE, THE MALE A VARIATION OF THE TYPE.


ALL AESTHETICS IS EROTIC.


Here, the ideogram of the dancing girl is used to represent Absolute Beauty.
Beneath the linear description, there is a structural secret hidden.
Why bother to find the structure? Because it works.
It is a tool that can explain Aesthetics coherently.
The same applies to the other subjects of this Conference (Education, Ethics, Geo-Politics, etc.)
If we were given a better tool, we would use it, but we have not found one.


Structuralism is found explicitly or implicitly in all the Shastras (authoritative texts) of Vedanta:
In the Mandukya Upanishad it is stated: "Ayam atma chatushpad ":
"I am the four-limbed Absolute".
The structuralism is explicit in the Bhana Darsanam of the Darsana Mala, where the four types of consciousness are referred to as the concrete, subtle, causal and Absolute.
Here, we are applying it because it tells us something about Beauty.


SLP2 - P5


KANDUKAVATI
The ball represents the consciousness of the girl
- she plays with the ball, or the ball plays with her.
Parity, reciprocity, complementarity, compensation and cancellability
are various relationships possible between two factors.


SLP2 - P2


Beauty becomes overwhelming when two beauties meet from different sides and cancel out.
Beauty emerges from the cancellation of two factors.
"Reach out to the beauty that is within you": Nataraja Guru.
This is the attitude of Advaita Vedanta.


SLP2 - P6


Sankara, in the Saundarya Lahari, describes the cancellation of a magenta dawn on the numerator side with the denominator magenta of a lotus, the result being Absolute Beauty.
Beauty could be described as two things saying the same thing from different angles.
If you watch a boy bouncing a ball, the ball jumps and the boy jumps to meet it - the ball bounces like the boy and vice-versa.
This could be described as reciprocity.


SLP2 - P7


Tantra glorifies the beauty inside you by describing it in terms of chakras, mandalas or adharas: these are all points of cancellation on a vertical axis.
Beauty consists of analogies between the beauty felt inside you and the beauty felt outside.
The girl and the ball represent the subject and object of the situation.
The ball represents Eros, known as Ananga, the limbless one, in Sanskrit;
or, more concretely, her lover who is watching her dance.
The girl is the lover playing with the ball, or the ball is her lover playing with the girl.
Finally, the ball is the non-Self and the girl is the Self: subject and object become interchangeable.
This could be considered as the essence of mysticism.


SLP2 - P8


Fill your mind completely with overwhelming Absolute Beauty and you are a mystic.
Inner space and outer space meet and cancel out as do Parvati and Parvata, Shiva and Shakti as verticalized elementals on the vertical axis.
We could keep in mind Bergson's image of a tailor cutting the horizontal piece of cloth and stitching it onto a vertical dummy to make a jacket.
A similar process operates here upon ontological or horizontal beauty factors.


The colour of the Goddess Uma's cheeks are compared to Himalayan sunsets.
Uma is that which is not Shiva, that is, a negative or horizontal beauty factor.
She represents residual beauty distilled from the ontological side of the universe.
She is named Uma when her mother cries out. "O do not ("u-ma") practise penance!" in the Kumarasambhava of Kalidasa.
That is: beauty has to be built up from the negative side and not brought down as in acts of penance.


SLP2 - P10


COMMENTARY
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Line 1
"Jewelled seat" - The girl is seated on a jewelled throne in the Durga temple.
Her parent's palace from which she has come, and her prospective lover could be imagined as horizontal counterparts in this image which recalls the Devi seated on a couch of Shiva form on a pearly-gem island in VERSE 8 of the Saundarya Lahari, where there is also a mandala-like structure similar to the palace in this line.

Lines 2, 3, 4
"Neither anyone else could see her in the interval of her leaving her seat and entering my heart"
The girl enters her lover's heart, in other words, beauty should be experienced inside.
Objectivity and subjectivity come together in the appreciation of beauty.
The context is eroticism AND ALL APPRECIATION OF BEAUTY AND ALL MYSTICISM IS EROTIC.
What is inside you, verticalized, is outside you horizontalized, the two cancel out as subject and object.
In Vedanta, the tri-basic prejudice of knowledge, knower and known
is cancelled by self-awareness.
This cancellation is instantaneous, and not a progressive development
- thus the girl is seen between the seat and her lover's heart.
Beauty is a wonder, and a wonder bursts into the mind suddenly.
Similarly, the sexual impulse in man is something sudden and violent.


Lines 6, 7
"Is she Lakshmi....is a lotus."
God could be called good, or else he could be called goodness itself.
Similarly, in the Malavikagnimitra of Kalidasa, Malavika is described as "dance itself", by her teacher.
Lakshmi is a predicative goddess, she is "like a lotus"
- a Sanskrit ideogram for beauty
"....while the girl is a lotus (or beauty) itself."



Lines 8, 9, 10 -
"Lakshmi was enjoyed.....fresh and untainted."
She is innocent, like Shakuntala, who is embarrassed by her friend's reference to her breasts.
The innocence of a young girl is the closest you can get to the Absolute,
her eroticism is unconscious, like that of the forest nymphs
"..with startled, gentle, wild-deer eyes." of Verse 18 of the Saundarya Lahari.



Lines 11, 12
"While I was thinking.....curly hair waved"


SLP2 - P13


The intellectual desire for the Absolute is not enough.
The intellectual must cancel out with the emotional.
Her wavy hair on the Numerator side has its denominator counterpart in the tips of her fingers touching the earth.



Lines 13, 14, 15
"Took the ball.....passion."
The ball is the "limbless" Eros (Ananga) and the red patches on a darker ground could represent the black or dark blue from the numerator side, which, combined with the red of the denominator, make the magenta which, in the Saundarya Lahari, represent the cancellation of Absolute Beauty.


SLP2 - P14


Aruna (magenta) and Karuna (compassion)
between them are all the message of the Saundarya Lahari.


Line 17
"Thumb drawn in and delicate fingers spread out"
This suggests again the analogy with a lotus, indicated above.


Line 18
"Back part of the hand"
The hand is now right side up, now upside down, suggesting an alternating or oscillating movement as in a figure-eight.



Line 20
" Unsteady glances like a bunch of flowers full of swarms of bees"
The flickering of the dancing girl's eyes are compared to the movements of bees amongst flowers. The attraction of bees to flowers is constantly used in Sanskrit poetry to represent desire, as in the flowery bow and bumble-bee bowstring of Eros in Verse 6 of the Saundarya Lahari may be called to mind, representing as it does attraction along a horizontal axis with an intermediate zone between.


SLP2 - P16


The analogy of the eyebrows and the bow is found in Verse 47 of the Saundarya Lahari:


"And thus, with eyebrows somewhat arched, with eyes of bee-like beauty below, I do surmise them as making up the bow-string for this bow of the lord of love, held by his other hand, his arm and fist hiding the middle part"


Lines 21, 22, 23
" Striking it....for the motion of the ball"
The law of reciprocity is seen operating here as she strikes it hard or softly as it comes alternately with the right and left hand.
"What is on the right hand must become left, and what is above, below"
She strikes the ball without mercy, the Purushika in Verse 7 of the Saundarya Lahari is the terrible or violent side of a woman - here, the dancer is in the Kali temple - she is also Kali.
(See Max Planck's H - the force which keeps the universe together
- the energy released when an electron jumps out of orbit is a constant)


SLP2 - P17


Lines 29, 30
" She struck...musical leap"
The "musical leap" referred to is a technical term for a dance step involving springing forward ten steps to catch the ball.
This can be contrasted with the step called churnapada or "powder-legs", which describes a rapid motion of the legs as she moves back to catch the ball. This would be gravitational, while the leap was anti-gravitational; the two being positive and negative counterparts on the vertical axis.
The upward leap indicates the active inner agony of meditation, which is as important as its negative counterpart.
Finally, she brings the ball back to its point of departure.


SLP2 - P18


Lines 36, 37
"Cheeks thrilling....through joy."
The lover experiences his hair standing on end, as attributed to the Devi's neck compared to a lotus stalk in the Saundarya Lahari, or even to Arjuna in the Bhagavad Gita, as a sign of intense erotic or mystical experience.
The appreciation of beauty involves a participation or identification with it.



Lines 38, 39
" cast a side-glance....first time."
She casts a side-glance at him, moved for the first time by love,
his confidence in Koshadasa grows at that very moment.
A reciprocity or ambivalence is again seen to be operating here.


SLP2 - P19


Lines 41, 42, 43, 44, 45, 46
"Repelled the bees.....tender sprouts"
Her face is compared to a lotus and her breathing to rays resembling sprigs of flowers.
Horizontally the bees trouble her, vertically she herself is the bees.
An equation is made between herself, like a flower, and the bees which are attracted to her.


SLP2 - P20


Lines 46, 47, 48
"As she moved.....flowery cage" Made shy by the looks of her lover, she makes the ball describe a mandala-like structure in which she hides.
She is alternately attracting and repelling him.



Lines 49, 50, 51, 52, 53, 54
"When giving....in the clouds"
The ball, flower-like, has described a cage, here it becomes the five flowery arrows of the five senses (see the Saundarya Lahari Verse 6) which she strikes back from within the cage.


While she does this with her hands, however, she makes forked movements with her legs "which indicate the graces of love", a certain ambiguity or hesitation being indicated.
Toenails are compared to arrowheads in the Saundarya Lahari.


SLP2 - P21


The flash of lightning, in which terms mystical experiences or falling in love are both described, reveals the redness of the clouds, as the movement of her legs reveals the erotic element on the negative side.
Eros hides in the Devi's legs, as described in the Saundarya Lahari (Verse 76).
Lightning is a vertical phenomenon forming a parameter uniting positive and negative poles.



Lines 55, 56, 57, 58
" Thus the princess....of her feet"
The girl performs a series of motions which together should express the nine rasas or moods which the dancer is supposed to evoke.
This is also evoked in the Saundarya Lahari .
The rasas, and her movements could form a series of vari-coloured rays extending in a semicircle above the horizon as from a setting sun with its varied colours.


Addendum to P22
In Verse 7 of the Saundarya Lahari we again find close parallels.
Her belt has jewels as well as bells - sound and light alternate or interact like a stroboscope : more light - more sound, or alternatively, less of one, more of the other.
The breasts of the Purushika are like the frontal bulges of a calf elephant on the Numerator,
on the Denominator they are a mother's breasts.
Her bending and stretching makes sinus curves like the elephant's trunk.
Purushika has a bow and arrow, noose and goad.
The whole forms a schematic whole reminiscent of the Sri Chakra
(see S-Lahari, Verse 11).
She alternately urges the elephant (which corresponds to Space, while she is Time) forward with the goad, or restrains it with the noose.
The dancing girl is doing the same with the ball.
She is also doing the same with her lover, glancing at him and retreating into a flowery cage.
The bow of flowers, with its string of bees attracted to the flowers,
is alternately separating when drawn, then coming together when loosed.
She shoots arrows, which is repelling someone, but they are sugar cane and thus sweet or attracting.
Ambivalence is present here.


Line 58, continued -
"Jingled in consonance" (see S-Lahari, Verse 7)
The bells encircling her waist could be envisaged as jingling by ringing one against the other and also as jingling internally with small tongues of metal. This could be seen to be similar to the lotus in the hand of Lakshmi, and the hand of the dancing girl being itself a lotus, as referred to in lines 6 and 7 above.



Line 59
"Her lower lip...or other."
Her smile for no particular reason indicates the element of joy inherent in the Absolute.
There is no such thing as a sad Absolute.


SLP2 - P23


Line 61
"Dishevelled tresses"
Her disordered hair could be a counterpart to the rapid movements of her feet
- filling the hypostatic space above and cancelling that below.



Lines 62, 63
"Jewelled bells struck against each other"
On the horizontal perimeter there is conflict or impenetrability between the bells, they are not self-sufficient.



Lines 64, 65
"Fluttering....posterior"
Her buttocks are projecting horizontally, they are not to be rejected in a picture of all-inclusive beauty.
Their solidity contrasts with the light silk covering them, implying a correspondance with the solid breasts above.


SLP2 - P25


Lines 66, 67
" Now drawn in... now stretched out, now tossed about."
An alternation or fluctuation as in a figure-eight is depicted here;
this might be seen as taking place between the actual and the virtual and between the fields of cosmology and psychology which have to be brought together in the context of Absolute Beauty.

.



Line 68
"Waving ringlets"
Her tenuous hair forms sinus curves above, corresponding to the curves of her legs below.



Lines 69, 70
"ear ornaments"
The curves of her movements are repeated by the two circles of her ear-rings,
not interrupting, but enhancing the other dynamism.
There is soft and erotic flesh on the one hand - precious metals and jewels on the other.



Lines 73, 74
"her mid portion....view"
Absolute truth as represented by the cancellation at her mid-portion,
with the navel at the O point has an ambivalent quality, now visible, now invisible.
A woman's body is to be represented by two cones or triangles meeting with their apexes at the waist which is so thin as to be almost not there.
Reference could be made to the precarious vacuity of the Devi's waist in Verse 79 of the Saundarya Lahari :
"On the point of breaking, equal in state to a tree on a collapsing brook-bank."


Lines 75, 76
"Pearl necklace tossed"
The movement of the necklace is a sinus curve on the vertical axis, as are the earrings on the horizontal axis.
- a similar image is used in Kalidasa's Raghuvamsa ( Ch.6, V12-19), when the Kings make erotic gestures)


SLP2 - P28


Lines 76, 77, 78, 79
" Gentle breeze.....perspiration."
The sprouts of leaves or flowers in her ears correspond to the leafy decoration of her cheeks, as the ear ornaments of the Devi in Verse 59 of the Saundarya Lahari are reflected in her cheeks.
Virtual and actual factors meet here.
The breeze caused by the sprouts is horizontal, drying up or interacting with the perspiration descending down her cheeks, caused by fatigue coming from the negative side, or Alpha point.


SLP2 - P29


Lines 80, 81
"Her tender hands....breasts"
Her breasts protrude horizontally and are covered by her tender hand.
Her modesty is vertical.
Her bulging horizontal breasts are the numerator counterpart of her equally ponderous buttocks.



Lines 81, 82
"Having struck...more than one"
Vertically there is one ball
Horizontally there are many balls between heaven and earth.



Line 86
She bows to the Goddess at the close as at the beginning of her
dance, touching the negative starting point.


SLP2 - P30


Lines 87, 88, 89
She is followed to her residence by her lover's mind and sends back to him an arrow-like glance.



Lines 90, 91, 92, 93
The reciprocal exchange above is repeated, as in the movements of the ball.
Love is vertical, affection is horizontal.
SOURCE SLP3


SOURCE SLP3 is an undated manuscript in Patrick Misson's hand,
probably dating from 1972.


CONTENTS


P1- V7


P5- Examples of Structure


P6- 4 Women in Verse 7, De Quincey, Reversible Equations


P8- V75, V80


P9- To Make a Film


P16- V1


P17- V7, V8


P19- V9


P20- V3, V4, V5, V7


P22- V8, V10


P23- V11, V13, V16


P26- V30, V31


P27- V32, V33


P28- V34, V35, V36, V37, V38


P29- V39,


P30- V40, V41


P31- Modern Thinkers


P36- Kandukavati, Piccardi, Endocrinology etc.


P37- Structuralism


P41- V66, V67, V68, V69


P44- V82

P45- V82


P46- V93, V90


P50- V75, V78, V79


P51- V80, V82, V96


P52- V97


P54- Sankara, Bhaskara


P56 to P62- Ethics



SLP3 - P1


VERSE 7
Her hair is like a wriggling worm, becoming a figure-eight, and turning into monomarks.
The lower side becomes pure line, suggesting breasts or legs.
The positive function triumphs in the end.
It is like the weaving of a cane chair, it is made up of figure eights tied in the middle,
with the torsion holding it together.
.

slp3-p1-v7.

.



The conical breasts imply triumph, like the protuberances on an elephant's forehead.
She holds up the flag like Joan of Arc; on the flag is Shiva meditating,
then everything disappears.
A Brahmin appears performing agnihotram (the fire sacrifice).
The verse says "let it appear", implying magic and thaumaturgy.
Beauty is the value-factor, it gives tangibility to the Absolute.
It is something you can hold in your hand.
(c.f. certitude is "like holding a gooseberry in the fist").
Shiva should not wear a necktie; Shiva's snakes should bite and should not be respectable..
Shiva and Parama Shiva (supreme Shiva): Parama Shiva should be raised still more and the parameter should become very thin.



Shiva's glory is a mounting vertical parameter.
Parvati's glory is the horizontal Ganges, flowing for the benefit of humanity.
The horizontal Ganges ascends and emerges vertically from Shiva's forehead.
.

slp3-p2-v7


The jingles on the Devi´s belt:
The sound is on the Numerator
The bells are on the Denominator
The belt is the parameter.


The smoke from the agnihotram fire by torsion turns into the breasts feeding a baby, becomes undulating countryside - Parvati's horizontal glory.
Purushika has a boy-like figure like a majorette - She is proud of the flag.



SLP3 - P2
Show a Spanish dance with a tambourine, a scarf dance with the design coming out of the scarf.
One must give content to the Absolute, not talk about it ad nauseam on a Sunday morning.
Is the Absolute an old man?
Is it a female figure?
.

slp3-p2-v7a.


First appears a belt of jingle bells, then torsion verticalizes the line and turns it into heavy mother's breasts, then into the breasts of a young girl like the bumps of an elephant's forehead, then into a cloud, then lines of hair.


SLP3 - P3


The figure becomes a Yin-Yang sign,
Then there are drum-beats and a strobe light effect.
.

slp3-p3-v7


Then a circle, with bow and arrow, noose and goad.
The elephant is inner space, inside the circle.
The goad and noose are for restraining the elephant and urging it forward.
The horizontal figure-eight and the Yin-Yang sign become resolved into a range of mountains.


Bergson - a master tailor has to cut the suit properly, putting dots on the horizontal stuff on the table, from which he makes a vertical suit.
Pure action and love are vertical.
Shiva is called "Chandra Chuda " which means "moon-wearer"
- the Most High God has to be thin as a crescent moon.
The vision of the Absolute is the cancellation of the Most High God and Goddess through beauty.
Mother-worship is a more ontological, more tangible starting-point than a Father God.
Ontology itself is materialism, but beauty gives it value.
Contemporary philosophy is returning to hylozoism.
Heraclitus, when he states that you cannot enter the same river twice, is describing the flux of becoming or the élan vital.


SLP3 - P4


The galaxy is moving helicoidally towards Hercules.
Religion should develop from the basis of modern science.
The days of hallelujahs are over, the hippies are putting rude questions to the pope.
(The bearded god of the Sixtine Chapel is a woman.)
PUT THE BEAUTY OF YOUR GIRLFRIEND TOGETHER WITH THE SUNSET AND YOU GET GOD.
The torsion in this verse is like a moebius strip.
.

-slp3-p4-v7

.


A bitch rolling on its back to feed puppies produces a mystical feeling.
Every height is a value.
The feeling of beauty, to be absolute, must contain an "Oh!" or an "Ah!".


Horizontality is gleaming fish jumping on a misty river at sunrise.
The sheen of the river is a thin film separating concepts from percepts.
The jumping fish are the vitality of horizontality - sex, etc.


SLP3 - P5


Contrast a truck taking stones to a radio sending a message.
THE TRUCK IS HORIZONTAL - TRANSPORTATION
THE RADIO IS VERTICAL - TRANSMISSION


A child refusing to go to a stranger's hands
is both horizontal and vertical - its hesitation is a figure-eight.


A frightened deer forgetting to eat grass and running away is horizontal
- the neck is a sinus curve.


A girl hesitating to be made love to, consenting and refusing at the same time, makes a sinus curve, a figure-eight.


SLP3 - P5


EXAMPLES OF STRUCTURE


Occasionalism - a butterfly on a trumpet-like flower.
Complementarity - dishevelled women pursue an old man blessed with the Devi's side-glance.
Reciprocity - an old professor with an admiring young wife - the old butler of a judge - loyalty, because they shine by reflection.
- villagers have no pomp but are glad of the king's horses and chariots - Kalidasa
- in Kalidasa's Shakuntala the fisherman caught with the ring is the chief of the fishermen, but admits the policeman as his superior - he has no feeling of rivalry and is willing to submit.


Reciprocity - Shakuntala's beautiful body is clothed in rough cloth.


SP3 - P6


THERE ARE FOUR WOMEN IN VERSE 7


1) Feeding a baby
2) Elephant bumps
3) Virtuality
4) Majorette


SEE THOMAS DE QUINCEY IN HIS "CONFESSIONS OF AN OPIUM-EATER":
THERE ARE FOUR MOTHERS:
1) Mater Dolorosa weeping in hospitals
2) One who kicks open doors and makes you mad
3) One who frequents burial places
4)


REVERSIBLE EQUATIONS:
When you say something about God, you are also saying it about yourself.
1. Shakuntala refuses to take a flower - she says she will not disturb the flower's blossoming, as she is also getting married herself.
2. Two babies are biting an apple - one takes a bite and passes it, the other bites too much - the first one cries - they are only happy when they bite equally.
3. A mother with a dead child in church passes a mother with a baptised baby - both cry. (Victor Hugo)


SLP3 - P7


The ball in Kandukavati is Eros.
Eros >< Anti-Eros
Reversible reaction.
Gravitation > < Anti-gravitation
Psycho- physical and metaphysical
Negative acceleration
The musical leap in Kandukavati is vertical


Entropy:
.

slp3-p7.



E = MC2 is a philosophical concept, a bold generalisation.
Philosophy helps a landlady size up a prospective lodger - Bertrand Russell
(This is an example, not a definition)


Axiom - most generalized - (A=A)
Postulate -
Proposition -


SLP3 - P8



The island in the milk ocean.
The gem-set island is a nipple of the mother.
It is the most precious chakra.



VERSE 75 - Dravida Sishyu



VERSE 80
Vidyarthi (wisdom-seeker)
Mother and child is the most basic relationship.
There is a transition from the physical milk to the milk of knowledge.
A bomb bursts horizontally
An equation informs vertically
(See Victor Hugo's reference ("Les Miserables") to two cones base to base :
"Awful plural...")


MARBLES IN REACTION TO ONE ANOTHER ARE HORIZONTAL
A LAKE INSIDE A LAKE, A CUP INSIDE A CUP ARE VERTICAL


When there is cancellation, a middle term is found between two opposites.


Here there are eight levels to be found on the vertical axis.


Horizontal contradiction is parity.


SLP3 - P8


Ganesha is space.


There is a white, a red and a black elephant.


A tame elephant is peaceful space on the vertical axis
A wild elephant is horizontal space


SLP3 - P9



Narayana Guru : a prostitute is better than a doctor - both ask for money.
The Asoka tree will flower if kicked by a girl full of eroticism.
A microscopic animal which wriggles continuously in a sinus curve shape is the essence of femininity, see Narayana Guru's Kali Natakam


SEX - BELLY TO BELLY LASTS A FEW MINUTES - HORIZONTAL
BACK TO BACK LASTS FOR EVER -VERTICAL


The truth shall set you free


The Ganges is a horizontal version of Parvati
Lakshmi is horizontal
Saraswati is a Brahmin
Kali is the Alpha point
.

slp3-p9-v7


This structure is accompanied by a "?" and is incomplete or tentative.


SLP3 - P10


TO MAKE A FILM


CASSETTE I

First there is a rotating island, a speck or jewel in the milk ocean,
with trees like weeping willows.
A man looks at everything - meditation.
There are sunsets and sunrises in his vertebral column
- on the island also.
The chakras become an island in the sky.
The island becomes India.
Then there is a guide to religious India, villages and temples.
Then we come to a wayside temple where we see Kandukavati,
thence the Devi.
Five minutes should be given to Kandukavati.


SLP3 - P10


Then we see the other gods - Shiva and Parvati.
Then we have the colloquy of the gods, with no functions shown, but placed on a vertical axis.
Then the family of Shiva.
Subrahmanya is BOTH in horizontal parity with Ganesha
AND in vertical complementarity to Ganesha.
Then can be introduced the picture of Dakshinamurti teaching,
or Sankaracharya teaching.
Then pictures of spirituality in India.
Then show a globe rotating, with dark clouds at the equator,
then a vertical thunderbolt and the end of the cassette.
Eating food is negentropy.


SLP3 - P11



CASSETTE IV - JNANA AND BHAKTI WIDOM AND DEVOTION

Cancellation.
In Kalidasa's Ritu Samhara - a frog jumps out of a summer pond and takes refuge under the shade of a cobra's hood.
This is a cancellation of their two sufferings from the heat.

Darsana Mala - Chapter 6- Karma
Karma means "function"
Dewey is an instrumentalist or functionalist.
He claims Kant was an idealist or conceptualist.
Dewey says that what we DO is the important thing - this is instrumentalism.

Karma Yoga - the "organon" is the thinking self or instrument.
There is an interchangeability of actor and action.
There is an ambivalence of the self and the non-self.
There is a reversibility - actor and action are equally important.
There is a figure of speech called dhvani: the dancer is "dance" itself.
"God is not good, but goodness" - Newton.
Predicate and subject are interchangeable.
Maitreyi and Yajnavalkya, the two wives of the Rishi (sage).



SLP3 - P12



PURE REASON (JNANA)
X is the brain
Y is the function
In a quartz crystal rosary, every bead is equal, but there is complementarity and cancellation at different levels.
A little touch of black in a crystal gives it beauty, like the bark garment of Shakuntala.

DEVOTION (BHAKTI)
Agnihotram (fire-sacrifice).
Krishna as the servant of Arjuna.
A boy Vidyarthi (wisdom-seeker) in rags is worshipped by the Devi.



SLP3 - P12



Sir Edmund Whittaker -:"the plan of the universe was present in the mind of God".
There should be no Indian element - no ghee with toast.
Saguna and Nirguna Brahman (the Absolute with and without form) should be distinguished.
Concepts and colours must cancel out.


Dusyanta's son plays with the lion-cub and refuses to leave it until given a toy.
He stretches for the toy - vertical
refuses to leave the lion - horizontal


SLP3 - P13


Shakuntala goes away and Kanva cries
- not from grief, but from a sense of beauty and strength of understanding.


The Devi occupies the same space as the Absolute.


Magenta is intermediate between infra-red and ultra-violet,
it is a cancellation between the two.
It can produce all colours.
It is Absolute Colour.


THE STATUS OF THE HINDU GODS
The gods, such as Brahma, Vishnu, Shiva, etc. can be folded up like a fan into a cylindrical tube.
They can be verticalized until they lose their functions.
.

slp3-p13.


SLP3 - P13


The lake of Geneva, with the Rhone flowing through it is a horizontalization of the river.


When you read the news of a man's death in the paper:
The man is verticalized
The news is horizontal


Ginger will sprout under certain favourable conditions
It is the same with rebirth.


SLP3 - P14


Schematismus - the acorn is a schematic model of an oak tree.


In the Yoga Vasishta - a bird with its legs tied flies about = vectorial space
As the rope shortens, it flies in a logarithmic spiral.


In Kalidasa's Kumara Sambhava - Shiva and his family arrive in a cart pulled by Nandi, flying in a spiral.
A spiral staircase connects earth and heaven.
The relationship between Kali, Lakshmi and Saraswati:
.

slp3-p14.j


There is complementarity etc between Shiva and Shakti:
Shiva should be as functionless as possible
Shakti should be as functional as possible


SLP3 - P15


Magenta is a mixture of:
The ashes of Shiva and the kumkum ( red dot on forehead) of the Devi


STRUCTURALISM EXPLAINED
The Cartesian correlates.
Examples of latitude and longitude.
A woman's form viewed structurally by Indian iconography
The four operations in mathematics.
.

slp3-p15


SLP3-P16


SAUNDARYA LAHARI


VERSE 1
The Goddess is a combination of Shiva and Shakti.
She is superior to the three gods.
The worshipper is a man without merits - an Akrta Punya
Sankara is not a religious man.


Shiva shaktya yukto.. (Shiva united with the Devi)
An arc lamp bursts into flame
There is a paradox between two factors, plus and minus.


SLP3 - P16


Atastvam Aradhyam... a globular mirror with pictures of the three gods prostrating.
The gods, being Vedic, have merit, Sankara does not;
he is outside the religious context.
The relationship between Shiva and Shakti is a paradox.


Bowing down is existential.
"How can I praise?" is subsistential.


"Other arms than thine are explicitly expert in giving boons..."
She grants boons through Her feet - ontology.
.

slp3-p16


Eros can live below the waters, but if he rises above he is cancelled out by Shiva's fire.


SLP3 - P17


Eros verticalized can disturb even Yogis and recluses.
.

slp3-p17


Pythagoras' theorem has two proofs: - on the blackboard
- or by cutting out triangles and measuring them.


There is Para Brahman and Apara Brahman. (the transcendent and immanent Absolute)
Where was the law of the conservation of energy discovered?
Not in the laboratory.
Thus this first and boldest statement is axiomatic.
All mathematics is based on axioms.
The Michelson- Morley experiment is highly important, but it failed.
However it gave a frame of reference.
It depends on a right angle: here is the structure already.


A right angle triangle is in the domain of Pythagorean geometry.
A non-right angle triangle is in the domain of trigonometry.


SAUNDARYA LAHARI


VERSE 7
A banana tree is pulled up by an elephant: there is an equilibrium between an ontologically stable banana tree and the elephant's trunk.
One is smooth and the other rough-skinned.
The bumps on the elephant are on the right side (?).
Purushika stands on the elephant's head, and thus gains numerator status.
A mid-ocean island means one-pointed, exclusive meditation.
The jewels are luminous.
The trees are devadharu - a celestial tree with flowers - see the Kumarasambhava of Kalidasa.
Kamadhenu - the celestial, boon-granting cow.
.

slp3-p18

.
VERSE 8

slp3-p18-

.

THERE IS A POSSIBLE AMBIGUITY IN THIS STRUCTURE, IT SHOULD BE COMPARED TO OTHER STRUCTURES OF VERSE 8


On the Denominator we have:
A couch of Shiva-form.
Name is hypostatic, form is hierophantic.
The cushion is Shiva himself.


On the Numerator we have:
The perfume of Kadamba trees.


At the horizontal limits we have a nectar ocean.


SLP3 - P19


VERSE 9
Beauty is an Absolute value.
Abstract and generalise and you will get the ultimate adorable Absolute.
The word "Absolute" has no fixed content, it varies with each discipline
- it is also known as a constant or a universal.
Anything that persists unvaried through time and space is the Absolute.
Taking something existent as an idol - this is idolatry.
They make an idol both subsistent and existent.


How to give a tangible content to the Absolute so that it is acceptable to all?
Sankara: what we adore is not an object
- it is a valuable idea, sufficiently real and tangible.
This idea is Beauty, the tangible form of which is colour.
Beauty is both outside and inside the mind.


Shiva is not sufficiently mixed up in the phenomenal world - he has no function.
Shakti is manifested force.
Wherever vegetation is luxuriant, the Mother Principle is exalted.
The Advaitin fuses the two together.
Sankara represents the cult of Shakti in its revised and revalued form.


SLP3 - P20


VERSE 3 describes the three functions of the Absolute.



VERSE 4 describes the four kinds of wisdom seeker.


Sankara gives value to the Absolute through beauty content.


(Concrete) Beauty is female
The male is abstraction.


Sankara disregards the branches - he goes to the root.
The root is the Universal Concrete - the source of all causes.


The feet of the Goddess are more important than the hands with all their mudras (gestures).


VERSE 5
The borrowed light or glory of the Absolute makes one resemble the Absolute.
Vishnu borrows the beauty of the Absolute Goddess, he even attracts Shiva.
Eros tries to defeat Shiva with arrows.
Rati's admiration gives him the light of Absolute Beauty.
Eros depends on occasionalism - the mountain breeze, the flowery season.


VERSE 7
This is a dynamic picture of the Goddess, as abstract and as concrete as possible.
.

slp3-p20-v7.


SLP3-P21


VERSE 7 uses both algebraic and geometric language.
This is a cybernetically conceived version of the Absolute.
First there is the jingle of bells on Her belt.
It begins on the conceptual side with sound,
then four compartments develop around the sound.


The elephant is a cloud, it is space, and it is Numerator.
The breasts originate in the Numerator - this is not vulgar or one-sided eroticism.
She is slim of waist - it has a mathematical status.
At the O point there is nothing, the O point is absent, it is not real,
and it is a mathematical abstraction.
.

slp3-p21-v7




Eros is below the navel O point, above he is burned by Shiva - morality, austerity.
On the negative side the mother is feeding the child.
Her face is described as an autumnal full moon.
Autumnal means not cloudy, not earthly.
.

slp3-p21-v

.


The noose stops the elephant.
The bow and arrows attract Shiva.
The goad pushes the elephant
Turn the structure forty-five degrees and the dynamism is slightly altered.


SLP3 - P22


VERSE 8
"some fortunate ones..." those trained in meditation - that is, those who place themselves in the same frame of reference - c.f. Bergson.
Ambrosia is mother's milk - an absolute necessity.
Jewels are interesting and beautiful.
Trees and flowers.



VERSE 10
.

slp3-p22-v10


SLP3 - P23



Parity - there are two eyes, two breasts - this is bilateral symmetry.
Prakriti (nature) is a verticalized centrifugal or centripetal force.


Reciprocity - two triangles interpenetrate and the circles within them cancel out.


The structure of the universe is the structure of logarithmic curves.


VERSE 11
A woman is already on the negative vertical axis
- there is no religion or meditation required.
Poets worship gods, make poems; women do not need this.
.

slp3-p23a


A woman's body is existential beauty itself


VERSE 13
A side glance to an old man attracts women.
.


SLP3 - P24


The multiplication table of G = symmetry.


VERSE 14
In this verse, Sankara is playing with numbers, like Pythagorean numerology.


VERSE 15
The numerator value is honey, milk and grapes.
The denominator value is Saraswati as a hypostatic goddess.
The over-hypostatic value given to Saraswati is cancelled out by the honey, etc.


The Numerator is not superior: there is a one-to-one cancellation between Numerator and Denominator.
All prayers are answered.


VERSE 16
Anything not affected by place or time is an Absolute (Sanskrit scholars )
The indigo colour is Absolute.
Magenta is the result of the cancellation of two opposites.
An electric fan is switched off but still goes on turning, in the same way, the love of ice-cream is cancelled out, but it will only be gone in ten years or so.
The poet and philosopher and seer are all used interchangeably.


VERSE 17
Fluorescence - a semiotic process
Scintillating - a syntactic process, bursts into meaning.
This verse refers to the meaning of meaning.
Sweet >< Savoury
"Dappled" means an alternation.
Vedantic beauty is not pure white.
Switch from black and white to colour.
There are four dimensions of abstraction.



SLP3 - P26


VERSE 30
Cancellation of worshipper and worshipped.
The cosmos is flux.
The cosmos is a fire into which the worshipper worships himself.
The Self and non-Self are cancelled out.
Fire is the best image, it is Vedantic.
Siddhis (psychic powers) are psycho-physical dynamisms. They are the like plastic spoons etc. in soap-powder packets. Free gifts of very little value.
The fire of doom is the Omega point.
The good of all is existential.
The general good is an idea.


VERSE 31
"Life purpose" means fulfilling Dharma.
"Know-how is Tantra.


Shiva's Tantra is turned upwards
The Devi's Tantra is turned downwards.


Food and honour are two domains.
Psychic powers = Numerator - 64 rays.
.

-slp3-p26-v31


.


"The Lord of Beasts" is Shiva at the Omega point.
"Causes to be brought down" - the hypostatic is brought to the hierophantic.


SLP3 - P27


The firm earth comes to be so that humanity can work its salvation out on horizontal terra firma.
The firm earth is needed.


VERSE 32
.

slp3-p27-v32.


The monomarks must refer to the heart - "Hrd".(means "heart")
There is a circle of peripheral letters, with the heart in the middle.


VERSE 33
This verse gives the lower perspective of a m