कुचौ सद्यः स्विद्य-त्तटघटित-कूर्पासभिदुरौ
कषन्तौ-दौर्मूले कनककलशाभौ कलयता ।
तव त्रातुं भङ्गादलमिति वलग्नं तनुभुवा
त्रिधा नद्ध्म् देवी त्रिवलि लवलीवल्लिभिरिव


O Goddess, having made Your twin breasts gain the beauty of gold pots,
Rubbing at the upper arms, bursting the bodice and presently perspiring,
The God of Love, now wanting to save your threefold waist from breaking, saying : "enough"
With three strands of a wild creeper, he presently binds.


kucau sadyah svidyat tata ghatitakurpasabhidurau
kasantau dormule kanaka kalasabhau kalayata
tava tratum bhangad alam iti valagnam tanu bhuva
triddha naddham devi trivali lavalivallibhir iva


The predicament found in Verse 79 is here presented in a slightly more accentuated form. Here, what makes the danger worse is not womanhood in itself, but the factor of eroticism personified, the god of love. Womanly nature in itself is not responsible for the exaggeration of certain tendencies that become accentuated at certain times within the scope of the total personality of the Goddess. When a mature mango drops to the ground, it is not considered an advantage from the standpoint of the tree itself. Horizontalization involves an accentuation of certain tendencies at the expense of others. If one should lop off the side branches of a tree, the main branch will gain in strength from the extra sap available for its growth upward. The pruning of trees implies the recognition of such a complementary principle of growth. In cultivating a frail plant, like a tomato, the intelligent gardener often clips away the side branches and retains the main one. When the plant becomes fully laden with fruit, the careful gardener supports the frail stem by binding it to a stick to keep it upright. The heavy weight of the fruit  might tend to snap the vertical stem, which is the disaster implied here.


The function of maternity is directly proportionate to the function of natural eroticism operating within the harmonized system of normal womanhood. Maternity is not a sin because of its libidinous implications. Sex is only a sin in the eyes of an angry God in the Garden of Eden, where it is referred to as a “forbidden fruit”. This does not mean that there is no place for an eroticism that is fully human and natural. The Bhagavad Gita allows for this by saying that when sex does not violate the norms of right conduct and is fully compatible with human nature in its basic tendencies, which it must share with all living beings, it is a kind of kama, or passion which is to be identified with the principle of the Absolute itself. This principle is repre­sented by Krishna in the Bhagavad Gita, who says, “I am myself pure passion of this kind” (VII: 11), thus taking away the sense of guilt from eroti­cism. Although Semitic and prophetic religions have denounced sex; in the “Song of Solomon, erotic mysticism is seen to be allow­ed as it is in the “Gita Govindam”and other works openly based on erotic mysticism in India.


Krishna stealing the clothes of gopis (female cowherds) and hiding in the trees is a favourite Rajput theme emblazoned on tapestries which are still admired in modern drawing rooms in the West. Here, beauty is the subject, not sin. Thus, Eros is admitted as a sufficiently dignified functionary in this work, as we have already seen as early as Verses 5 and 6. In fact, there are two rival functions to be recognized here: one in charge of horizontalizing tendencies, and the other which is normal to womanhood. Eroticism can assert itself strongly or lightly in different types of women, in the same way that both Ganesa and Subrahmanya could escape the carnal aspect of life. In womanhood especially, the accentuation of vitalistic tendencies can never be considered as a drawback. No cow could be bad because it gives milk as a result of its vitalism. Jesus would not curse a fig tree except for its sterility. What is a virtue with Shiva need not necessarily be a virtue with Parvati.


We notice that the God of Love is the maker of the horizon­talized maturation of the two breasts, which are said to rub against the upper arms because of their fullness.


The bursting of the bodice is reminiscent of the nurse Peggotty in Dickens' "David Copperfield", whose buttons are said to be bursting each time she embraces the boy; so this is an old joke not unknown to English literature. Perspiration is also an indication of an extreme erotic state of mind, as referred to in Kalidasa's "Shakuntala". While, on one hand Kama accentuates horizontal “sin”; on the other,  he is much concerned about the danger of the waist snapping when overladen with heavy fruit. The beauty here consists of the delicate interplay between tragic and comic elements, neither of which is allowed to predominate and spoil the balance or harmony. Before the last straw enters into the situation which he himself induced horizontally, Kama steps in saying, “enough!”. In order to keep the stem from breaking he props it up and binds it with three strands of a wild creeper, so that it could still stand erect. The three strands represent the three levels through which verticality has to pass to transcend  the over-accentuation of any one of them. The way of transcending the three nature modalities (gunas) has been examined already in Verses 53 and 54. What applies there at a high level should also apply, by extrapolation, at the lower level of  the middle region of the waist. The gold pots under reference here are found also in Kalidasa's poetry in the context of watering plants to help their growth. Compared with ruby pots, these might suggest a lower position in the hierarchical scale of values. Here it is not solidity that counts, but the golden coloration or brightness (abha).


Bhagavad Gita, Chapter VII:

Verse 11

balam balavatam cha'ham
kamaraga vivarjitam
dharmaviruddho bhuteshu
kamo 'smi bharatarshabha


I am the strength of the strong, devoid of desire
and passion. In beings I am desire which is not
contrary, to righteousness (dharma) 0 Leader of
the Bharatas (Arjuna).





The positive over-generosity of life requires protection from the god of vitality.


Kuchau - the twin breasts
Sadya svidyat tata ghatita kurpasa bhidurau - bursting the brassiere which has just been put on them while perspiring
Kashantau dormule - pressing on the armpit region
Kanaka kalasha abhau - having the lustre of golden water pots
Kalayata - manufactured, made
Tava - Your
Tratum - to save
Bhangat alam iti - saying "Do not!" - from being broken up
Valagnam - the middle region
Tanu bhuva tridha naddham - by three rounds (loops) has bound, the god of love
Devi - Devi
Tri vali lavali valli bhih - by triple branch creeper of Lavali creeper
Iva - as if


Another version is:

Kuchau - the pair of breasts
Sadyah svidya tata ghatita kurpasa bhidurau - bursting the knotted bodice and presently perspiring
Kashantau dormule - rubbing at the upper arms
Kanaka kala shabau - having the brilliance of twin golden pots
Kalayata - he who makes
Tava tratum - these Yours to save
Bhangat - from breaking
Alam iti - saying enough
Valagnam - the mid region
Tanu bhuvatridha naddham - the god of love has bound by three-fold strands
Devi - Goddess
Triva lila vallibhih - by three strands of a wild creeper
Iva - it would seem
This is psychological structuralism realistically analysed.


Another version:

1 - The twin breasts
2 - Bursting the brassiere that has just been bound on them while perspiring
3 - Pressing on the armpits region
4 - Having the lustre of golden water pots
5 - Manufactured, made
6 - Your
7 - To save
8 - Saying : "Do not!" - from being broken up
9 - The middle region
10 - By three rounds has bound the God of Love
11 - Devi
12 - By triple-branched creeper of Lavali
13 - As if




1 - ...
2 - Perspiring - representing the Universal Absolute. Shiva the husband, watches as Eros is the cause of the perspiration.
The brassiere is just put on, and the breasts are bursting through it - a PRESENT erotic picture.
3 - The breasts want to burst in every direction, not just forward
4 - In the West the breasts would be called "ivory"
5 - Breasts are not made by the woman herself. Eros has entered into Her as a horizontal factor and manufactured this state.
6 - "Your" refers to the middle region of the Devi
7 - To save - Eros feels responsible
8 - Saying...any more eroticism will burst the middle
9 - the middle region
10 - Eros has said: "If You act like this, I am going to bind Your middle with three strands".
He is concerned.
The horizontal tendencies in a woman manifest themselves in the breasts.
Concern is thus directed towards binding the middle and....(ILLEGIBLE)
There is vertical binding to prevent the horizontal from flying apart.
(The three strands which stop the Devi's waist from breaking are cognate with the three gunas which make the horizontal universe which extends horizontally from the O Point at the Her waist - also the three functions of creation, preservation and destruction which characterize the universe. There are also three folds at the Devi's waist. All of these must merge in the consciousness of the reader to form an interrelated poetic and mystical whole. This is where protolanguage, which is not limited to one exclusive meaning, is superior to mere verbal metalanguage. ED)

Eros binds by three bindings - to unite it organically with a lower pole - to prevent breaking at the waist.
Her waist is so thin that it is mithya kalpita - falsely put there by the mind.
Verse 79 describes the Devi's fatigue: She is bending, an almost broken shape, like a tree sliding into a fast river.
In Verse 80 weight of the Devi's breasts is so great that She needs Eros to bind Her waist with a creeper to keep it from breaking.
Verses 79 and 80 are always alternating from the horizontal to the vertical.
(The Dirac Point is apparently relevant but we do not understand it. ED)
Logarithmic spirals are proceeding from the same source, they are due to Eros - they are not organically separated.
This is realistically analyzed from the point of view of Eros, as an agent of biological, hierophantic functions on the negative side; he is not in charge of the origin of the creeper, but only of the binding.
"Binds with three turns of a creeper..." Eros is the functionary up to that point, all horizontality is in his charge; and that is why Shiva will not come there.


(Note the correspondence with Verse 69. ED)




Show Shakuntala being mocked; she carries a golden pot almost the same shape as her breasts. Borrow from Kalidasa.
The breasts are sometimes golden pots, sometimes ruby pots: see VERSE 73.

Her two chidren are drinking milk from Her breasts:

Subrahmanya is in Ajna Chakra,

Ganesha in Muladhara Chakra: neither have sex, one is too thin and one is too fat and comfortable; it is the man in between who has to copulate.
Her breasts are described as ruby pots - these are hard.
The Devi's legs are quivers.
Her toenails are sharpened on the crowns of gods.
The point is: within the personality of the Devi there are two kinds of hardness: diamond hardness on the negative side, and hydrogen-flame "hardness" on the Numerator side.
One increases with the other, thus the crowns are whetstones; there is a cancellability between the nails and the crowns.
The bipolarity between the ontological and the teleological is brought out here, absolute hardness does not reside in any one part of the body.

When schematism is known to you with all its dynamisms you become a wise man, your consciousness becomes like that of a baby in the womb, verticalized in Lobachevskian space. You know your past and your future, what it is possible to do with yourself and what is not possible.

The vertical axis is happiness, the horizontal axis is suffering: teach people to adjust their insides; you will do them a great service.
God can be in three places; in your heart, in your mother's feet or in heaven, between the eyebrows.
Whatever god they give you, ask for his functions and place him mathematically in a schema.

The contribution of Vedanta: svadharma ("your own dharma" - karma verticalized) is to be cultivated from the Denominator side, do not try and pick your svadharma from the Numerator side.
Start from the side of cause, and work upwards to your own spiritual progress.
Do not try to descend from above, do not put too much emphasis on the prophetic side.