त्वया हृत्वा वामं वपु-रपरितृप्तेन मनसा
शरीरार्धं शम्भो-रपरमपि शङ्के हृतमभूत् ।
यदेतत् त्वद्रूपं सकलमरुणाभं त्रिनयनं
कुचाभ्यामानम्रं कुटिल-शशिचूडाल-मकुटम्


tvaya hrtva vamam vapur aparitrptena manasa
sarirardham sambhor aparam api sanke hrtam abhut
yad etat tvad rupam sakalam arunabham trinayanam
kucabhyam anamram kutila sasicudalamakutam


Absorbing the left half of the body of Shiva 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 a curved, crescent-bedecked crown, became of magenta glory.


The ideal of cancellation of worshipper and worshipped is accomplished by virtue of a cancellation in terms of grace between counterparts having different value-grades. Each layer is to be removed, one after the other, in a certain epistemological and methodological order, before we can understand how a reality that is beyond the four dimensions could be revealed to view, when shorn of all that is extraneous to the situation.

In this verse Parvati, the wife, appears to be devouring her husband alive. When this act of mutual absorption or cancellation attains to its full limit, what remains of Shiva, in vague outline, is the crescent moon and three eyes, immersed in the pale magenta halo or glory of the Goddess. On the part of the Goddess, what remains of the eternal feminine principle is the twin breasts, which are so ponderous, weighed down by the responsibility of motherhood, that they make her body recumbent. Her own body is completely dissolved in terms of an all-pervading magenta, dispersed in infinite space and thus made equally magenta in content everywhere. It is as thin and tender in consistency, in existential terms, as the mathematical crescent of a subsistential order, against which the vaporous cloud of colour is to be cancelled out. The three eyes are retained as belonging both to the onlooker as well as to the one looked upon, interchangeably and indifferently. It is the third eye, through which the thinnest aspect of the vertical parameter is to pass as an eternal inner witness, which is common to both Shiva and Parvati.


When scrutinized more closely, these four lines reveal overall epistemological or cosmological dimensions that even modern physicists are beginning to recognize. The first line promotes us from a one-dimensional to a two-dimensional perspective as a horizontal line that is being cancelled from the right to the left, as when we travel from real to imaginary or negative numbers.
If one goes to a shop and asks for ten oranges and does not pay for five of them, the value of these five oranges is seen to be negative, because one still owes the shopkeeper some money. The five oranges that have been paid for can be eaten with greater satisfaction. Such is the value-gradation to be understood here. In line two we notice that instead of paying the debt, she insists on cancelling it. The "shopkeeper" who is being refused payment is not a stranger or outside person, but represents the dear husband, Shiva himself, who is being bodily consumed by the wife out of all kindness. The debt is thus being cancelled out at the second level of virtuality.


What remains is a verticalized version of Shiva and Parvati, not of the order of mere cancellable equations, arithmetically understood, but in terms of a purer three-dimensional or four-dimensional context of higher mathematics, as in integral, differential or infinitesimal calculus, which require higher powers of abstraction and generalization. The operations take place in duality from below, as intended also in Verse 18. We see that the crown is still retained in the picture. This is merely to mark the form of thinner perimeters or asymptotic curves cutting the parameter at different levels.
Cantor's mathematics also admits of a one-to-one correspondence between many grades of infinite sets of ensembles. Points, curves and lines, all thinly visible through a magenta haze - which itself results from ultra-violet and infra-red neutralizing each other on the side of real existences - are all meant to give us this finalized picture of the value of Absolute Beauty to be shared in common between Shiva and Parvati, without any vestige of duality intervening between them The bending of breasts is highly suggestive of curves in calculus. The thin crescent would suggest infinitesimal variation. The parameter traverses the total situation, like the streak of lightning in Verse 21. The ocean of magenta can also be thought of as encroaching into the total field to obliterate all duality from below, as also intended in Verse 18. We see that the crown is still retained in the picture; this is merely to mark the Omega Point of the total situation. The Alpha Point is to be understood and will come into evidence when the process of absorption here is reversed and oriented negatively. The culmination is still marked by the magenta glory of the last line, which is not a point, but is meant to fill all space horizontally. The "crescent-bedecked crown" is more fourth-dimensional or time-like than space-like. The whole picture results from an ascending process rather than a descending one.


(Cantor's diagonal argument, also called the diagonalisation argument, the diagonal slash argument or the diagonal method, was published in 1891 by Georg Cantorthat there are infinite sets which cannot be put into on-to-one correspondence with the infinite set of natural numbers. Such sets are now known as uncountable sets, and the size of infinite sets is now treated by the theory of cardinal numbers which Cantor began. ED)




Tvaya hrtva vamam vapah - by You absorbing the left (half) of the body
Aparitrptena manasa - unsatisfied in mind
Sharir ardham shamboh - the half of the body of Shiva
Aparam api - the other also
Hrtam abhut -
Yad etat tvad rupam - this which is Your form (resulting thus)
Sakalam aruna bham - wholly of magenta glory
Trinayanam - three eyed
Kuchabhyam anamram - slightly bent, recumbent, by virtue of twin breasts
Kutila shashi chudala makutam - wearing crescent-bedecked curved crown


Magenta absorbs all but the Omega Point by stages.
She does not abolish, but cancels.
Magenta and the crescent have homogeneous status.

Once again, the Devi is "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.




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.

The Devi, with the left half of her body, absorbs half of the body of Shiva; then, not content with that, she absorbs what is left.
Then she becomes magenta-coloured.
Her breasts are described as being bent in a figure-eight.





The Guru describes the breasts as a figure-eight which is part black and part white and gives a magenta colour when rotated quickly.

The Guru says: "Today I am feeling guilty that there would be changes; that I am putting proto-language into the verses. But it is not so: You have to use it."

Sankara has used a colourful, schematic language.
So here the Devi has completely absorbed Shiva, She has a crown with a crescent moon, three eyes, is magenta in colour and Her breasts are bent - but NOT bent by their weight, as the pundits state.


Another version:

- By thee absorbed
- The left (side) of the body (has been absorbed by You)
- With discontented mind (still unsatisfied)
- Of Shiva, half the body
- Also the other (counterpart) - (something remains)
- I do surmise (or doubt)
- Became also absorbed (she encroaches into the remaining half)
- This which is (given here, this which)
- Your (present, resultant) form
- Of glowing magenta colour / having three eyes
- By the two breasts somewhat recumbent
- Decorated by the bent crescent moon crown
(Bent crescent moon decoration - headgear)

Shiva is eaten up by the Devi because she represents ontology first.
She is real, he is conceptual.

Thus She has the crescent moon, which is the traditional crown or headgear of Shiva, as a final, conceptual, decoration.

It does not matter if Shiva is there at all. Shakti is given primacy over Shiva because ontology is the natural basis: travel from what you know to what you do not know: from Shakti to Shiva - this is the methodology of Sankara's Vedanta.

The whole of theology in the western world moves between Plato and Aristotle.

(Plato will tend to give primacy to ideas, while Aristotle will give more value to ontological factors. ED)

See Bergson on the reality of colour and Russell on the relationship between metaphysics and mathematics.

The crescent moon, which is the traditional decoration of Shiva, is the resultant of that form which has absorbed the body of Shiva.

Here the male and female have interpenetrating reciprocity.
Again, we have the cancellable version of Shiva and Shakti.






Sir Edmond Whittaker says that the structure of the universe was in the mind of God before it was created.


Eddington says: "if you put me in a room with a piece of paper, I shall predict the next eclipse".


Along with Pythagoras, they recognized the structure and the form which is clinging to it.
So, these men are conceptualists.


James Jeans says that God is a mathematician.
So, theology is coming back to science.


Ethics is derived from a philosophy and that philosophy must be scientific, i.e. pulling together the world of the observables and the calculables.


These two worlds must be put together into one.

See Socrates, Plato and Aristotle, the Alexandrian school (Plotinus), the Christian Mystics, the middle ages, Copernicus, Darwin, etc.

(See also Aldous Huxley's "The Perennial Philosophy").


"I want to put order into my thoughts and it was finally Narayana Guru who put me on the track to the Upanishads.

So let the children of the drop-outs start a new movement.
Vedanta is unique because it is ordered and the terms defined.
We just want to put things in order and arrive at a notion of the Absolute.


Yesterday, the crescent moon is bent, now the breasts are also bent.
She encroaches on the body of Shiva.

Virtuality is common (in principle), thus, it is the left side.

Actuality remains - the Devi represents ontological, down-to-earth actual reality, Shiva represents the mathematical implications of this actual reality.

She wants to absorb that right half as well.

In so doing, she has to sink into Herself. But she gets the third eye because she cannot absorb all of the mathematical aspect without some of it showing: the eye represents the calculable, transcendent Omega Point.

She also has his decorative crown, with a thin crescent moon, which is curved.



So, the crescent moon is the Bindhusthana or central locus of meditation.
How are the breasts bent? Because left and right are treated as virtual and actual breasts, on the left and right sides of the horizontal axis, respectively..


The Devi is encroaching from her existential side, devouring first the left, or virtual side; then the right, or actual side, leaving only the Numerator of the crescent and third eye.


The two breasts cancel out into a Yin-Yang pattern.
There are two references to "bent" - anamram, kutila.


tvaya hrtva vamam vapur aparitrptena manasa
sarirardham sambhor aparam api sanke hrtam abhut
yad etat tvad rupam sakalam arunabham trinayanam
kucabhyam anamram kutila sasicudalamakutam
The Guru''s word-for-word above:
Kuchabhyam anamram - slightly bent, recumbent, by virtue of twin breasts
Kutila shashi chudala makutam - wearing crescent-bedecked curved crown
(Curiously, the dictionary definition of "anamra" is as follows:
anamra अनम्र :definition: "the one who does not offer obeisances", also as "haughty", "not humble".
"Kutila" appears as: "round, curved, zig-zag. ED)

He wants a curve introduced to the crescent. "Somewhat recumbent" suggests bringing it into a circle, thus we arrive at Yin-Yang.

(There is a curve to the crescent moon, which is combined with the curve of her slightly bent waist to form a Yin-Yang structure within a circle. ED)




The Guru says: "Am I going beyond the limits of speculation? In Sanskrit literature, you have to be free in your speculations; it is not read like a telephone book. For example: "moon-like face" refers to lustre in Sanskrit and does not mean round or pancake-like.


So, you have to know the Sanskrit classics in order to interpret this in the tradition of Sankara and Kalidasa.
So I am taking the liberty of putting the breasts into a Yin-Yang schema.

You have to be prepared for this through reading other works of Sanskrit literature. Otherwise you will not be able to interpret the verses."


Gradual negation of the negative: construct the positive Absolute by reducing the negative into positive.


The Absolute is androgynous.
Parvati first eats up the left half of Shiva.




Classical and popular images of the "Half-Woman God" form of Shiva (Ardhanarishvara).


Then, not content with this, she devours the right half as well.
Then, bent by the weight of the breasts, she is of aruna (magenta) colour.

So here, the emphasis is on the negative ontological side.
Integration of plus and minus results in the Absolute.
The bending suggests a figure-eight.

You cannot abolish Shiva completely, the third eye and the crescent remain.
The Alpha Point is abolished into a figure-eight.

So this is a double principle of negation and construction.
She begins on the left side because that is easier for Her; after that, She can enter into the positive side.

This is an iconographic ideogram, a kind of protolanguage.


(In the terminology of Nataraja Guru, these terms are used differently from their usual definitions in linguistics: the structural methodology used throughout his works is protolanguage. The Cartesian co-ordinates are protolinguistic in essence; so also are the longitudes and latitudes of maps. Symbols are protolinguistic; signs are metalinguistic. Alphabets belong to metalanguage and geometrical elements such as angles, points, lines or concentric circles can be used protolinguistically. ED)

The figure-eight can mount and becomes aruna (magenta) when it passes the horizontal axis. Still the third eye is left, as the value of meditation, and the crown as the source of the Ganges.
The minus side becomes positive and the magenta colour results.


Another version:

- Absorbed by You
- The left side of the body
- With mind not fully satisfied
- The half of Shiva's body
- The other counterpart also
- I surmise
- Became absorbed
- By virtue of which
- This (this world)
- Your form
- Having magenta glory
- Third eye
- Bent by breasts
- Having a crescent moon-adorned crown


Not fully satisfied, She goes from the less important to the more important, in a methodological order. There is first a horizontal reduction from the virtual side (1)
- then from the vertical (3).

Monomarks representing Shiva remain as the third eye and the crescent moon.

In the diagram below She begins eating from the left.




(1) from the virtual side across to the actual side, when she finishes the horizontal axis, then she shines on the negative vertical

(2) Going from left to right is bilateral symmetry. Going from top to bottom is transfer symmetry.

(3)The resultant of the cancellation is the magenta colour - since the two bodies have cancelled.

Then, the third eye implies the Devi has become verticalized.

Bent by the weight of breasts: (See the reference in Verse 80 to the waist as so thin as to need to be bound up by Kama Deva with three vines.)
To get to the bottom of this iconic ideogram, we have to abolish the waist into a sinus curve.
Then the crescent and crown are the final aspect of Shiva - it is all the representation he needs - the principle or monomark remains over the whole scheme.