AdvaitaVedanta

P1

FILM GENERALITIES

BEFORE THE FILM COMMENCES, INSERT SUFFICIENT INFORMATION ABOUT THE FOLLOWING SUBJECTS:

1# How the Devi occupies the same space as the Absolute; the place of Magenta in the scheme.

#2 The status of the Hindu Gods:
a) Brahma, Vishnu, Mahesvara. Rudra, etc. (The three gods of creation, preservation and destruction, and Rudra, who is the god of storms, seen as a form of Shiva. ED))

b) The relationship between Saraswati, Lakshmi and Kali. (Saraswati - the positive Goddess of Learning and the Arts; Lakshmi - the Goddess of Prosperity - occupying a central and slightly horizontalized position; and Kali the negative goddess of destruction. ED)

c) Subrahmanya and Ganesha. (The two sons of Shiva and the Devi - Subrahmanya, the numerator War-God, and Ganesha - the denominator Elephant God of Learning. ED)

d) Kama and Rati Devi.(Eros and his wife, literally "desire". ED)

THE PLACE OF MAGENTA IN THE SCHEME.

#1 Magenta is an absolute colour; ultraviolet and infrared meet in it. Colour film technique proves that magenta can produce any other shade, tint or saturation by positive or negative filters. These filters presuppose a colour-solid with an Alpha and an Omega point from which, by omitting or adding certain elements, all colours required can be produced. This is a great discovery of modern times in optics. (see introduction to "An Integrated Science of the Absolute" on this website ED) Thus the basic or absolute colour, magenta, is obtained by neutralisation of plus and minus factors.
(ILLEGIBLE WORD)
It is thus reasonable to equate it with the Absolute principle of Beauty, or the Goddess of this work.

THE GODS AND THEIR INTER-RELATIONSHIPS

# 2 It is necessary to fit all of these into a structural context and also to indicate the dynamism involved.
Brahma, Vishnu or Shiva or any others belonging to the same order of divinities, such as Rudra, Sadashiva etc.
They have to be placed in the top half of the circle, divided by a horizontal line: but there is no harm in indicating that this top half could be absorbed into the bottom of the vertical axis, as when a Japanese fan, which is a horizontal semicircle when open, folds up into the vertical axis.
This dynamism must be demonstrated on the screen. These three gods have to be given their functions, and viewed both in their horizontalized and verticalized aspects

THE GODDESSES

Sarasvati is at the top of the vertical axis,
Kali at the bottom,
Chamundi in the middle.
(see V89)
The Dasakumaracarita of Dandin describes the goddesses for ten nights.
Show how the goddesses change from one to the other. If you can purify the vertical negative, then you have Lakshmi, or else Saraswati on the positive side, in a calm aspect without horizontality.

P3

THE RELATIONSHIP BETWEEN SHIVA AND THE DEVI

#3 There are mutual complementarity, compensation, cancellability and reciprocity between Shiva and Shakti (the Devi). Explain this fully, while being careful never to minimise the importance of one or the other.

#3. Complementarity is most difficult.. You have to show magenta arising out of Shiva's ashes and the magenta spot on the Devi's forehead (So there is colour mixing here).
The possibilities of Technicolor, laser and holograph technologies have to be explored here.

THE STRUCTURAL ELEMENT

#4 The Structure explained:
a. The Cartesian correlates, horizontal and vertical axis's in a graph.
b. Solid geometry and conics.
c. Crystal structures: lessons from flower structures, especially the lotus, examined schematically.
d. The status of other flowers and water lilies.
e. Some favourite trees used for structural purposes.

#4.
a. Show the vertical and horizontal axis, and how they are used everywhere: in hospitals, finance, etc.
b. Halley's comet comes and makes a parabola or hyperbola. There is a solid geometry found in the sky, cf. conics in astronomy.
There are double rainbows, with the colours reversed. Conics enter into cosmology.
c. There are different kinds of coloured quartz, gems, etc. to photograph.
Show the crystal structures with colours (in museums).
d. Lotuses and sunflowers and arrangements of logarithmic spirals, the golden proportion,
cf. Edna Kramer (what work? ED).
e. There are some flowers that close and some that open at night.
f. The Asoka, fig trees with aerial roots.
See the Gita on the fig tree with roots above and branches below.
There is a reference to an Asoka in V85 and V96: a tree or creeper is an extremely negative value.

P4

THE DEVI'S BODY AS DESCRIBED IN THE SAUNDARYA LAHARI

#5 Woman's form examined through the rules of Indian iconography.
One should examine minutely:
a. The structural implications of the lower and upper half, divided by an imaginary tropic line.
b. The thin waist.
c. The navel, the navel-lake and the three folds at the waist.
d. Thighs and knees: their strength, suppleness and frailty implying reciprocity between elephant tusks and banana plants.
e. Horizontal and vertical versions of the breasts.
f. The four-fold structure of the mid-eyebrow region, the eyes, ears etc.; implying a vertical arrow.
g. The feet placed at the bottom, middle and top: further details to be supplied by actual verses, when more closely examined.

#5 This is a study in itself, note the hands, sinus functions,
Fourier functions, etc., as found in iconography.

P5

SHIVA AND THE DEVI

#6 Descending Shiva and ascending Goddess
- how they meet, how they interact:
a. Back-to-back eroticism versus belly-to-belly.
b. They do not touch each other, except for the chin; they always keep twelve inches apart.
(further implications in the verses themselves)

THE CHAKRAS

#7 The origins of the six Chakras.
a. What they represent as a psychodynamic mechanism with synergisms and syndromes.
b. The hierarchy of Chakras: Sahasrara on the plus side and Muladhara on the negative side and one at the mid-point. (Further details in the verses)

#7 A yogi sitting with the Chakras fixed in their positions, psycho-dynamically understood. The interplay of Sattva, Rajas and Tamas (the three modalities of nature).

STRUCTURALISM

#8 Geometry and Algebra must meet in structuralism.
a. Magenta is an abstract colour, with possible positive and negative filtration.
b. Laser techniques and three-dimensional space or the colour-solid as a mathematical entity.

#8 See the theory of Protolinguistics, see monograph by the Guru.
Pure mathematics can contain both algebra and geometry, as complementary vertical counterparts: see the two proofs of Pythagoras' theorem, one algebraic and metalinguistic, and the other geometric and protololinguistic.
Cf. post-Hilbertian mathematics and Galois.

P6

STRUCTURALISM

#9 Figure-eight dynamism (see Bergson).
a. Explain the matrix and O-point.
b. Explain the "universal here and now" at the Alpha-point.
c. The "universal elsewhere" - timeless - is at the Omega-point.
d. Explain the Mandalas, do not omit them, they are four-cornered:
the Sri Chakra, Kaula and Samaya cults revalued.

#9 See "Values" for structural hints on the Saundarya Lahari.

P7

STRUCTURALISM

#10 Parity, virtuality, right and left spins, the mutual exclusion of horizontal factors, impenetrability; the seed of troubles in this world - harshness; the problem of evil located at the horizontal of the spirit.

N.B. This could be divided in two or three parts and presented separately, so as not to bore the audience.

#10 See quantum mechanics and molecular structure: Diagrams to be found in Gent University, etc.
Bachelor and female particles.

P8

P9

GANESHA AND SUBRAHMANIYA

Of the two sons of Shiva and the Devi, Subrahmanya is vertical and Ganesha is a purified version of the horizontal.

Ganesha is existence,

Subrahmanya the essence of God..

Finally, bring the horizontal negative and the vertical positive together and cancel them both out.

EROS AND HIS WIFE

Kama Deva (Eros) and Rati (his wife "desire").
Rati, being a woman, has no function really; she is just to be absorbed.
Kama, however, has a function, and no woman can live without him.
The difference between a Pre-Raphaelite Madonna and the Mona Lisa is that Kama Deva is present in the latter. Kama can still operate when Shiva is not present; show him jumping into the lake of the Devi´s navel; Rati cries and goes to the negative side of the vertical axis.

P10

NOTES ON A WORLD GOVERNMENT STATEMENT

There should be freedom to seek happiness and to move about.
Good air, food, water and the opportunity to make a living wherever one likes.
Population control in a Malthusian sense is out; we need migration and redistribution.
Common diseases like malaria, etc., must be fought.
Abundance is not to be mixed with opulence; they must be balanced dialectically.
Sex-life and moral life are to be regulated by universal standards; courts of arbitration are to be set up.
A World Police should see disputes quickly settled.
No existing boundaries are to be abolished, there are likely to be boundaries, just as a dog will bark when you infringe on its territory.
Bring to bear a better understanding.
There must be World money.
The UN seems to presuppose that when made more perfect it will transform itself naturally and take over the functions of a world government.
(The objection to this argument is that it is unilateral and dualistic).
The arithmetical sum-total of existing value notions cannot produce what is called the integrated totality of a high personality capable of functioning as a world government because we know in mathematics that integration does not result from a mere addition of items; it is a quality added onto a quantitative situation existing below, as it were, from above. The perceptual and the conceptual approach, when cancelled out unitively, alone yield a government that can apply to the whole of humanity.
This is the secret of the approach of unitive understanding applicable to every department of life, which is stated to be the overall purpose of this conference.

NOTES OF CONVERSATIONS WITH THE GURU

"DESCENDING SLEEP"
Waiting for the train to Cannanore in Tellicherry railway station.
Guru: "You are singing more than usual today; that is because it is the new moon: a kind of black pit which is too dark, you sing because you have the blues.
Curran: Yes, I have been losing sleep, with my head full of plans."
G: "But after two or three hours, you get a most pleasant sleep - a descending sleep, did you notice that?"
C: " I noticed that it was most pleasant, but not that it was descending."
G: " Most sleep comes from below - from the legs, and rests you up to here
(the chest, solar plexus). Descending sleep comes from above, it is most refreshing - numerator sleep. This is the first time I use this term "descending sleep" - it must be right, it clicks."

P11

POSSIBILITIES AND PROBABILITIES
On the train to Cannanore:
Guru: " Here is a sentence that might interest you: `The father survives the son, the son survives the father'. Which is possible and which is probable?"
C.: " The first is possible, the second is probable."
G: " Yes, but you should say why. I just got this today.
These two examples define possibilities and probabilities."

PRAYER
All prayers, as a general rule, are answered.
If a twenty-five year old girl wants a husband, you can predict that the prayer will be answered.
Prayer and the thing prayed for meet each other.
They are reciprocally related. This is the same as question and answer.
" I will not become a maharaja because I did not pray for that"
Thus pray for the gold dollar (not the small change).

P12

WORLD GOVERNMENT

The statement on World Government is a good idea, but the Guru will word it in such a way that there can be no catches.
1. World Government exists already.
2. The only action needed is to spread the effect, without local fixations
- a token action that does not admit to any action, etc.
It will be vertical and the horizontal will follow.

P13

SOME GENERAL REVELATIONS AND OBSERVATIONS
Guru; The structure is finalised in my mind.
It is compressed like a ball in my hand.
It is the body of a woman. Particularly the breasts, navel or waist, and hips.
What about the head, limbs, etc.?
Those you can fit in by yourself. The breasts are most important.
They have to be round. They are the dome of the sky.
The two are also different from one another: they can be verticalized, like the sun and moon.
How do you explain God thundering on the one hand, and "turn the other cheek" on the other?"
God belongs to the vertical, the law for men is as it is because they belong to the horizontal, and society depends on co-operation- for its existence.
This is the greatest of discoveries.

P14

Yes, I understand that Christ sits on the right hand of God, but who sits on the left hand?
The Absolute is like a bucket with a hole in it being drawn from a well:
there are three positions: at the bottom, the bucket is full,
at the middle it is half-full, and at the top it is empty. (see Yoga Vasishta)
This is like the dynamic figure eight, constantly alternating.
(see also pushing the husband into the well in the "Dasakumaracarita" of Dandin)
The Absolute according to Narayana Guru is the reflection of the sky in the surface of the water in a bucket.
These are final structural secrets.
The girls left because they understood the meaning of pushing the husband into the well:(an episode in the Dasakumaracarita of Dandin. ED), that the Absolute is both something and nothing.
That was too much for them and they went away.
Note that the Guru refuses not to be affected by their departure,
but says that he has learned his final lesson about women: don't go near them.
He says he knew this proverbially, but not experimentally.
The two put together mean understanding. So many secrets these last days.

"You have a concrete, geometric mind; cancel it with a high axiomatic counterpart."
"If the proper study of mankind is man, the proper study of man is woman".
"The structure of woman reveals the structure of the negative aspect of man: his psyche. Add to this feminine structure the Numerator and you get the whole picture."

P15

SELECTIONS FROM " PARADISE LOST" IN ALAN WATTS.

"At one the four spread out their starry wings.."
These are the four cherubim described by Ezekiel, as in constant attendance upon God, with the heads of a bull, a lion, an eagle and a man, each with six wings.
These were later associated with the three evangelists, but also with the four "fixed" signs of the Zodiac - Taurus, Leo, Scorpio (after a Phoenix) and Aquarius.
(ED notes: see Zoroastrian origin)
"Under his burning wheels the steadfast empyrean shook throughout..."
This is the vertical axis - the light of heaven.

"...pursued with terrors and with furies to the bounds and crystal wall of heaven, which, opening wide, rolled inwards and a spacious gap disclosed into the wasteful deep..."
VI.824-877

This is the turning of the spiral - the changing of direction from one cone to the other.

"..yet from those flames no light, but rather darkness visible, served only to discover sights of woe..."
This is double darkness.

"For those rebellious, here their prison ordained
In utter darkness, and their portion set,
As far removed from God and light of heaven
As from the centre thrice to the utmost pole."
I. 44-74

Three plus three = the six Chakras.

P16

" There is a cave within the Mount of God, fast by his throne,
Where Light and Darkness in perpetual round
Lodge and dislodge by turns, which makes through Heaven
Grateful vicissitude, like day and night;
Light issues forth, and at the other door
Obsequious darkness enters, till her hour
To veil the heaven, though darkness there might well
Seem twilight here"
VI. 4-12

Where is "here"? In any case, he is speaking of the neutralised vertical twilight that results when Sun and Moon are verticalized and cancelled.

FROM "THE TWO HANDS OF GOD" BY ALAN WATTS.

"Strange then, as it may seem, the devaluation of myth would require a reversal of the main direction of scientific thought at the present time"
P31
"I cannot resist the intuition that, in some quite unexpected way, the scientist is going to find himself coming back to the truth of the ancient Hindu aphorism, "Tat Tvam Asi" - "That thou art". For where could "The Mystery" be more cleverly hidden than right in the seeking and the seeker - nearer...than breathing, closer than hands and feet". If so, the basic mythology of the Hindu World - view may attain a new dignity; to some extent it has already done so" P32

"But I have tried to show that statements of fact and mythological images belong to quite different languages and that the logic of one does not apply to the logic of the other." P33

P17

THE EIGHT-FOLD STRUCTURE - ITS PARTS:
My question was: " Is Ashtatam (eight) arrived at by a quaternion on the Denominator and another on the Numerator?"
"No. The eight are derived in "The Epistemology of the Gnosis" from six plus two or seven plus one to make eight.
Then there is a quaternion in each of the eight Adharas or levels.
Then put eight of Subrahmaniam on the numerator and eight of Ganesha on the denominator; interpenetrate the two and you get the normalised Kali as in the "Kali Natakam" of Narayana Guru.

The terms assigned to their respective levels:
Ambivalence - the first level, the actual, Subrahmaniam and Ganesha are ambivalent.
Reciprocity - the second level; Saraswati and Lakshmi.
Complementarity - the third level, the Devi with callosities - she wants to establish the final cancellation with Shiva, here, she is his complementary counterpart.
Cancellation - the fourth level, the final operation - Shiva and Shakti united.
Parity - refers to the horizontal alone; bilateral symmetry.

THE FOUR LIMBS OF THE QUATERNION.

1. THE ACTUAL CHAIR in which the actual man can sit; this chair will exclude another chair, and occupies a particular space.

2. THE VIRTUAL CHAIR, in which a virtual man can sit, much like a mirror reflection.

3. THE ALPHA-POINT CHAIR, the form of the chair generalised;
It excludes all other chairs.
This is the universal concrete version; it excludes horizontally but not vertically.

4. THE OMEGA POINT CHAIR: the word "chair" in the dictionary, purely conceptual.

P18

STRUCTURAL EXAMPLES FROM VARIOUS TEXTS

STRUCTURAL NOTES FROM THE NEW TESTAMENT APOCRYPHA
AS QUOTED IN "THE TWO HANDS OF GOD", BY ALAN WATTS.
From the apocryphal "Acts of Peter", a third century Greek text.
Peter has asked to be crucified upside down. When he is on the
cross, he says:

" Ye men unto whom it belongeth to hear, hearken
unto what I shall declare unto you at this especial time as I
hang here. Learn ye the mystery of all nature, and the beginning
of all things, what it was. For the first man, whose race I bear in
my own appearance (or "of the race of whom I bear the likeness")
fell (was born) head downward and showed forth a manner of
birth such as was not heretofore: for it was dead, having no
motion. He, then, being pulled down - who also cast his first state
down upon the earth - established this whole disposition of all
things, being hanged up an image of creation wherein he made the
things of the right hand into the left hand and the left hand
into the right hand, and changed about all the acts of their
nature, so that he thought those things that were not fair to be
fair, and those that were in truth evil, to be good. Concerning
which the Lord saith in a mystery " unless ye make the things of
the right hand as those of the left, and those of the left as
those of the right, and those that are above as those that are
below, and those that are behind as those that are before, ye shall
not have knowledge of the Kingdom."
"This thought, therefore, have I declared unto you, and the figure
wherein you now see me hanging is the representation of that man
that first came unto birth. Ye therefore, my beloved, and ye hear
me that shall hear, ought to cease from your former error and
return back again. For it is right to mount upon the cross of
Christ, who is the word stretched out, the one and only, of whom the
spirit saith: "For what else is Christ but the word, the sound of
God?" So that the Word is the upright beam whereon I am crucified
and the sound is that which crosseth it, the nature of man. And
the nail which holdeth the cross-tree onto the upright in the
midst thereof is the conversion and repentance of man..."

(M.R.James (trans.) "The Apocryphal New Testament" Oxon.
1924, pp.334-335 . " Acts of Peter" 37-ad fin. 89.
From Alan Watts " Two Hands of God". pp 189-190

This is pure structuralism. Left into right etc. Means reciprocity, complementarity etc. The "Word" is vertical when it is placed with the "sound", then the sound becomes horizontal and perceptual, thus "the nature of man". The place where the nail is fixed represents the normative centre, and thus "conversion and repentance of man" means the state of neutrality in the Absolute, the communion of the Self with the Self, or of man with God.

FROM THE "ACTS OF JOHN"
THE VISION OF JOHN OF THE "CROSS OF LIGHT",
REVEALED TO ST. JOHN AT THE TIME OF THE CRUCIFIXION.

" This cross of light is sometimes called the word by me (Jesus
is speaking) for your sakes, sometimes mind, sometimes Jesus,
sometimes Christ, sometimes door, sometimes a way, sometimes
bread, sometimes seed, sometimes resurrection, sometimes
son, sometimes father, sometimes spirit, sometimes life, sometimes
truth, sometimes faith, sometimes grace. And by these names it is
called as toward men: but that which it is in truth, as conceived
of in itself and as spoken of unto you, it is the marking off of
all things, and the firm uplifting of things fixed out of things
unstable, and the harmony of wisdom, and indeed, wisdom in harmony.
There are (the places) of the right hand and of the left, powers
also, authorities, lordships and demons, workings, threatenings,
wraths, devils, Satan and the lower root whence the nature of
things that come into being proceeded.

P21

This cross, then, is that which fixed all things apart by the
word, and separated off the things that are above from those that
are below, and then also, being one, streamed forth into all things.
(Or: "compacted all into one.")"
From M.R.James (96), pp 254-255 "Acts of John" pp. 98-99, from
Watts' "The Two Hands of God" p.192

MYSTICISM AND CANCELLATION
The Guru was asked what is the cancellation which results in the mystical feeling when reading the end of "Les Miserables":
"It is a cancellation of what you know about human nature from the Denominator with the idea of Jean Valjean's having passed through evil, etc on the Numerator."
Is there not a "fine adjustment" necessary to be constantly prepared for this experience?
" No, no adjustment. Get rid of adjustments. Say you want nothing in the three worlds. This is the negative way.
Speculation on the one hand and a certain strictness on the other.
Narayana Guru was taut like a platinum wire inside himself."

P22

"Do not try and get it all at once. It has to come by itself as a result of intense speculation - and might take you ten years...I do not know...it depends on your luck and intuition...I cannot tell you how lucky you are"
"Narayana Guru told me when I left for Europe `You will die in four months', this is a secret mystical language"

Yesterday the Guru was trying to get me to understand that Guru and Sishya (disciple) are interchangeable - the Guru is the Non-Self of the Sishya
- earlier: "You are the Alpha Point and I am the Omega point"
"It is a great discovery when you find out that hatred and kindness are the same"

THE DASAKUMARACARITA OF DANDIN

III. In sex, the woman must cry - there must be suffering on the one side and cruelty on the other. Otherwise it is just ordinary.
Break, then re-unite, this indicates a figure eight.
When the kisses become tender and the embraces light,
then the situation has reached the Numerator side.

The body of the king is cloven lengthways and thrown into the fire;
otherwise, half of it would go up and the other half down and there would be no life.
The sun rises at the Omega point, the moon at the Alpha point.
Each has its rainbow. The two twilights press from either side.
Compress all together at the O point.

P23
CANCELLATION

KALIDASA'S RITUSAMHARA
The frog jumps from the muddy pond - the water itself is too hot.
The snake itself wants to drink but cannot.
There is reciprocity between them.
The snake forgets - desperation of the frog.
When this cancellation takes place, you get the Absolute.
There is absolute necessity on both sides.
The snake forgets the frog for one moment - this is the absolute moment of summer.
Enter into the mind of the snake - extreme thirst.
The frog wants to live: cancel them out.
The consciousness of the frog and the snake cancel out into the Absolute Value hiding in summer.
Even a hot day has equilibrium between plus and minus.
Think of the frog, the food of the snake, and a total predicament:
there is a moment in which everything is cancelled.
The passion of absolute suffering gives a central point of neutrality in the Absolute.
Tragedy is enjoyable.
Here, everything is so perfectly verticalized that all nature is meditating on the Absolute.

P24

Elephants have trampled the muddy pool and destroyed the lotuses, the swans are gone, and the fish have died.
This is a tragedy - something we enjoy is there. There is not even a drop of water. The essence of tragedy will run through your spinal chord.
The beauty is in the fact that they trample the roots; this is the square root of minus one - it touches the Alpha Point.
The consciousness of man is found in the suffering elephants.
It is the rainy season: "may it grant nearly all your cherished desires".
Here only denominator blessings are given.
The final numerator touch is missing.
The steps are short here, thus, the "nearly".
The rainy season delights the women, the plus side is missing;
thus, "nearly" all your desires.
You can get all the benefits except the fourth floor (the fourth floor of an imaginary building - with food in the basement and philosophy on the uppermost fourth floor - ED).
The rainy season does not give that.

MORE OBSERVATIONS ON RITHUSAMHARA.

This work attempts to press together the numerator and denominator aspects of a certain psychophysical state.
Put a circle around it, when you cancel, you get the Absolute emerging.
There are six rithus or seasons: we get six Chakras

three comic ones on the Numerator
and three tragic ones on the Denominator.
This leaves you with a certain feeling, which is mystical.
Without love there is no life: this poem uses eroticism to reveal certain features of the Absolute.
All of these verses are of value.
Think of a beautiful lotus-pond with swans swimming.
Then a herd of elephants comes and completely tramples the pond.
This is extreme negation or tragedy.
Mystical agony is the feeling involved.
The elephants are rubbing their skins together
- horizontal trouble.
They are trampling even the roots of the lotuses
- vertical trouble.
Kalidasa is saying in poetry what Bergson is saying with mathematics.

P25

RITHUSAMHARA
" That warrior called spring is coming, o dear one,
With fully unfolded mango blossom tips for sharp arrow heads;
With rows of bees as the resplendent bowstring,
To pierce the hearts of those erotically disposed."

The mango blossom is so tender, with red and magenta tender leaves and blossoms.
He is speaking of the shoot or point, which is a vertical axis within you:
it wants to flower.
You must enter into the soul of the mango tree.
A man at the Omega Point will be pierced if the arrow is perfectly vertical.
It is an arrow of light. Even Shiva will fall when it is verticalized.
There is a reciprocity and interaction between them.
As the moon is the "food of love
It is an umbrella on the Numerator side.
The breeze is called a rutting elephant.

Last verse of the work.
The cuckoos are the bards. You want a word - AUM.
Conceptualism - sound.
This is a final touch of structuralism: after all is enumerated,
a mathematical sinus curve is inserted as a figure eight on the numerator side for the conceptual aspect.
Let that function at the core of your consciousness, never becoming dimmed or hidden: do not discard the noble sentiment of love.

P26

KALIDASA'S SHAKUNTALA

THE ASOKA TREE.
From roots to top, the Asoka has sprouts of a coral colour.
It is giving endless blossoms - when erotic mysticism is complete, there is a thrilling of the entire body.
Sadness overtakes a young girl in love, as a form of mysticism.

The Vikramurvasiyam of Kalidasa has the same situation: an Asoka tree waiting to flower requires the kick of a Princess.
There is a one-to-one correspondence between the élan vital of the tree and the queen.
Kicking means to understand the one in terms of the other: she kicks it so that it can get married.
This is an equation between the Self and the Non-Self.
This kind of eroticism gives content to the notion of the Absolute.
The play is properly called Abhijnanashakuntala. Abhijnana means: "Leading toward knowledge", that is, her "recognition" by Dusyanta.
Kalidasa sets up the audience hypnotically before the beginning of the Play.
For example, the charioteer's speech about the horses.
You are being transferred from the horizontal chariot to the soul of a horse.
The horses change horizontal space into vertical space.
Kalidasa wants you to do the same thing.

THE NANDI, OR BENEDICTION FROM SHAKUNTALA.

"That which is the first creation of the creator,
That which bears the offering made according to due rites,
That which is the offerer,
Those two which make time,
That which pervades all space,
having for its quality what is perceived by the ear,
That which is the womb of all seeds,
That by which all living beings breathe:
Endowed with these eight visible forms, may the supreme Lord protect you."

The benediction is a masterpiece of structuralism: a god with eight visible forms, both cosmology and psychology together.
1. The first creation is fire, the centre, as with Thales etc.
2. That which bears the fire (what is put in) according to a certain order in the universe: some grains.
3. The Hotri, or sacrificant, who makes the offering.
4 and 5. "Those two who make time" the sun and moon are to be verticalized
so as to rise and set in your consciousness as if presented to the five senses.
6. The visible world - i.e. attainable in a schematised form.
7. Whatever you call the horizontal world - the womb of all seeds.
8. That by which all things live - breath.

ALL THESE FALL INTO A VERTICAL AXIS.
ABSTRACT AND GENERALIZE AND YOU GET STRUCTURE,
THAT IS, FORM.

The existing translation (Motilal Banarsidas edition) of the Nandi proves to be inadequate, the Guru will translate the work.

THE NANDI FROM SHAKUNTALA
One god is praised here: Ishana.
A Puranic interpretation of the eight forms would be wrong,
Thence the confusion on the previous pages.
Kalidasa must be read as a Vedantin.
Quote the Gita, Brahma Sutras, and Upanishads.
Shabda Pramana means that "the words" (e.g. The words of an authority or scripture. ED) are taken as being true.
Other Pramanas (sources of valid knowledge. ED) are:
1. Pratyaksha - what is given to the senses.
2. Anumana - inference (where there is smoke, there is fire).
3. Upamana - analogy between two examples.
4. Sastrimitva - all Shastras would be wrong if there were no Brahman.
This is Shabda Pramana.
These are four of the ten Pramanas ("commonly accepted in Vedanta" see Science the Absolute on this website)

P28

In the Nandi, we find:

1. Fire
2. Ghee
3. The Brahmin sacrificer (these two are interchangeable: "ya cha hotri...")
4 and 5. Time as sun and moon. There is an alternating figure eight.
Time mounts the vertical axis, like S and S' (see Bergson in the Science of the Absolute on this website)
They must be verticalized.
Substance, attribute, sound, "that even which we speak of as Nature".
(Manifestation itself is the last mentioned, it goes at the top; it is a nature-principle which gives breathing to all things.
Thus, here are eight presences that you can approach as being the visible universal concrete: also with the eight-fold content or aspects.
Let this universal principle be your saviour - let it save you.
"I worship you and I want to be saved by what you see".
The same elements are used in the play: Shakuntala, a pregnant woman, is the centre, the king forgets her; this is the tragedy.
If you are not tuned to the Absolute, not completely verticalized, you will forget your own wife as Dusyanta forgets Shakuntala, which is the greatest injustice.
Dushyanta is horizontally oriented - thus he forgets his wife.
Shakuntala is vertical.

(there now follows a passage in devanagiri characters and a partial transcription of the Nandi,
omitted for typographical reasons, ED)

P29

PROVISIONAL TRANSLATION OF THE NANDI:

1. That creation which is the first of all created (things),
2. That which is the clarified butter.
3. That which is at the same time the sacrificer
4 and 5. Those two which make time
6. That ground in which inhere (stand established) quality, sound and substance
(i.e. the horizontal world), filling the whole universe (vyaya visvam)
7. That which is said to be the seed of all manifestation.
8. That which gives life to all living beings
May all of you be saved by the eight bodies (presences)
Let these, the eight manifestations of the Lord,
attainable by what is given to the senses, save you.
(This is the Atman that is at the top of the vertical axis - the Omega point.

(A structure in the text is here omitted as it has a line through it ED)

HERACLITUS ("THE OBSCURE") OF EPHESUS, C.536 - 470 BCE
In opposition to the Milesians, from which he is separated by a generation,
he held that there is nothing abiding in the world.
All things and the universe as a whole, are in constant, ceaseless flux;
nothing is, only change is real, all is a continuous passing away.
For this reason, the world appeared to him to be an ever- living fire,
a consuming movement in which only the orderliness of the succession of things, or, as Heraclitus called it, the "reason" or "destiny" of the world remains always the same.
Heraclitus foreshadowed the modern conception of the uniformity of natural law.

P31

WHAT IS THE RELEVANCE OF THE NANDI TO THE PLAY ITSELF?
"The play is the thing" - what you see and what you feel must correspond, resulting in joy, a revealing of human nature with its echo in the soul, an equation between the Self and the Non-Self.
What you represent while being saved has one-to-one correspondence with the action of the play. Fire is in the centre: tilt it to the Denominator and you will get Shakuntala.
The same structure will be evidenced.
There is a slight asymmetry of perspective as between the Self and the Non-Self.
The spectators are asked to put themselves in a certain mood.
Tilt the camera from the positive side of the audience to the negative side of the unhappy Shakuntala.

P32

THE WORLD LINE OF BERGSON.
When you treat Time as a factor with some epistemological status of length, breadth and thickness - schematise - you get the world line of Einstein and Minkowski. Bergson says "very good, but make it valid for philosophy as well as physics; the world line for S and S' must coalesce".
A boy on a tricycle makes circles in the drawing room, he has to turn the handlebars, but at what angle? An infinitesimal angle entering at infinitesimal instants of time. A big or small circle does not make any difference: it is the infinitesimal factor in calculation that makes them the same.
(Relevant to Chaos Theory? ED)

SHAKUNTALA

THE VERSE IN SHAKUNTALA IS IN A FOUR-FOLD PATTERN.
He is describing the beginning of summer:
1. The days become delightful at evening.
2. To plunge in the water is so delightful.
3. The breeze is filled with perfume, blowing horizontally.
4. There is a boy sleeping in a deep shady place.
He puts people in a proper mood by first singing to them, establishing a harmony between the people and the summer season in which the action is going to take place.
The actress sings: this gives a background for a tender, erotic context.
This is a delicate, contemplative tragedy.
Flowers kissed by bees are the most delicate.
This is the world of occasionalism.

The audience is immobilised, as in a picture: subject and object interpenetrate;
interest is evenly balanced.

The wife tells the King the Denominator side.
The King is flying, so he is slightly absent-minded.
He is half-awake, to induce a similar state in the audience.
Then there is a gentle surprise - Dusyanta is brought in and the Prologue ends.

The Stage Manager or Sutradhara says the words have to meet the acting:
conceptualism meets perceptualism.
That twilight zone of consciousness between them is where the drama can flourish - not too vague, not too definite.

P34

ACT I
The "Pinaka-Wielder" is Shiva. This brings to mind the archetypal hunter
- to fulfil the same purpose of revealing Brahman.
This gives the drama its place in the Indian context.
First get the horizontal line clear.
The charioteer is in the centre and speaks.

The King's speech indicates the horizontal vanishing point;
The King sees a jumping, zigzag line.
This is a philosophical reflection on the notion of horizontal existence.
Hunting was a necessity in the time of Shiva, at the origin of human life.
So, the hunter reveals a horizontal line.
The infinity of space and relative speed is indicated here.
There is a Fitzgerald Contraction, a telescoping; grass is falling half-eaten out of the deer's mouth.
It moves lightly; the horizontal line is mathematical.
It is bounding; this indicates the vertical and gives the zigzag line of Bergson.
It shows fear of the horizontal.
The first axis is delineated here.
The King's mind is horizontal; the deer's is vertical.
Beauty is the sinus curve of its neck.
The deer was grazing vertically until the King appeared.
The dropped grass is a schematic, dotted line of tragedy and sympathy.
"Level ground" - the King is impatient of the speed of the chariot and wants to establish reciprocity between horses and chariot in pure motion.
Once reciprocity is established in motion, then the vertical is marked by a description of the chariot and the vision of the King.
Space and time are put into the melting pot: this is a "monde affiné", as in Bergson.
"Objects...," means the speed is great. Non-dual = vertical.
Bent becomes straight.
"So great the speed...": reciprocity abolishes all perspective.
He acts fixing an arrow, only fixing the arrow, not shooting.
Then from behind the scenes comes a voice saying that the deer must not be killed, it belongs to the hermitage.
"Killing" is the last word that suggests horizontality: now, the drama is about to begin as a contest between the horizontal and the vertical.
The vertical must not be forgotten.

A voice says: "…of the Ashram, o King; he (the deer) must not be slain"
The Brahmachari is an agent of the Guru. The Ashram is an island of neutrality, it is vertical, and there is no killing there.
This is treated with much respect, even by a king.
This is an epoch-making statement: a Brahmachari is greater than a king.
The hermits are a point of insertion of the vertical.

The hermit's speech: "...flowers burnt by fire..".
Agni (fire) is brought in. A sacrifice may be necessary in the outside world,
but not according to the vertical ahimsa (non-hurting) of the Ashram.
"Burning" is for the verticalisation of the horizontal.
"Puru": this is the archetypal pattern for all city-kings; weapons should be for decreasing, not inflicting, suffering.
He wishes:" May thou have a son", the King says, " It is accepted " and bows.
Somatirtha (the ashram) is a place on the vertical line, which intersects with the horizontal.
Kanva has gone there to rectify something about the birth of Shakuntala.
She is the daughter of Menaka, fathered by a forest Rishi; she could not be taken to heaven and so went to Kanva's ashram.
Kanva goes to determine Shakuntala's fate, but her fate is decided at Kanva's Ashram itself.
Kanva knows there is an evil fate in store for her, and has gone to Somatirtha, which is more vertical, to alleviate it, but there are certain things which are in the hands of providence.
The King's devotion - he is also innocent. (?ED)
The King's speech on entering the Ashram: there are two descriptions:
one is Jaina, or pre-Vedic, and the other Vedic, he wants to put them together.

DESCRIPTION OF THE ASHRAM:
1. Some cereal grains, placed by parrots in the holes of trees, are overflowing: there is abundance and peace - the Jainas will never hunt or disturb living beings.
(See the Gymnosophists described by the Greek historian, Herodotus, in his account of Alexander the Great).
2. Ingudi is a nut crushed on stones for oil for lamps.
This is a self-sufficient economic system, it is simple.
3. The deer in an Ashram know no fear and are full of confidence.
The animals are protected absolutely.
4. There are lines from the washing of the clothes of the Sannyasins that mark the water level. This is inferential as are the signs described in 1 and 2; only 1 is visible.

P36

There are three kinds of inference here; he may be showing the Pramanas.
The above belongs to the Jaina context, what follows belongs to the Vedic context.
Kalidasa inserts himself into these two, before presenting Vedanta.
The King must protect the Rishi performing the fire sacrifice in the forest.
The second description is closer to the altar, since the grass is cut away,
this is more of a cultivated garden.
These two descriptions form a pedestal of two concentric circles on which to place the fire of the sacrificer. Then the vertical axis can be built from there to the voice from heaven, which will be heard by the Hotri, or sacrificer.
The clipped Dharba grass means that it has been put into the fire by the Brahmin.

II

1. Sprouts of grass indicate the horizontal axis.
2. Leaves made vague indicate the Vedic world of ghee and the Hotri.
3. "Roots bathed..." indicates the denominator side, the Alpha point source,
the elementals.
4. Young fawns....

The river is horizontal.
Ripples; fire-bather-Brahmin (? ED).
The root is the source of the vertical axis.
This is a gentle attempt to verticalize the scene.

The King descends; he is going to meet Shakuntala.
He is leaving one level and going one step down; he leaves the horses there.

The King enters - the doors of possibility can open anywhere in this world.
You do not have to wait for possibilities that do not present themselves:
what happens to you is in the scheme of the best of possible worlds.
The King's arm throbs: this is traditionally a signal of disaster: the right arm for women and the left arm for men. Unhappiness is going to start now. There is a jolt in the machinery - a delicate cybernetic balance is disturbed.
The damsels with pets - there is a dialectical relationship between the young girls and their pets, there is an equation between them, they sit like a baby in their lap.
...contains sinus curves. It is like the breasts of a woman, each is different.
The beauty is in the reciprocity.

The two girls.
Anasuya (lit. "without jealousy"): Kanva loves plants more than does Shakuntala: they represent the negative side of the vertical axis.

Priyamvada (lit. "praising, agreeable")
"The affection of a sister" - there is a unity of life, even plants,
all is the Absolute.

P37

Reciprocity is established here between Shakuntala and the flower.
Note that Vedanta never postulates something that you cannot see.
She cares for the plants through, by, for and in herself: this Atman is the same as that:

Advaita comes alive.
Do not talk metaphysics without its lived counterpart.

The sami cut by a lotus leaf - The King says Kanva should not discipline Shakuntala, who has all her tenderness expressed as a flower.
Ascetic discipline is not for a young girl who is like a lotus leaf.
The diamond (tapas) is at the Omega point.
Dusyanta can see this from the horizontal.
Shakuntala's bark garment - this is a study in contrast, he purposely plays on the bark garment and the growing breasts of a young girl.
The joking between the girls is only meant to set off the sublimity of the King's poem.
"The beauty of women shines the more by contrast".
The one sets off the other, like the spot on the moon.
The two opposites cancel.
She shines by double negation - the bark garment,
and by double assertion - her own beauty.
She does violence to her own nature and becomes more beautiful;
she accepts the renunciation of Shiva.

STRUCTURE SLC8 - P37

What is it that could not serve as an ornament?
The paradox is transcended by her beauty.

The Kesara tree and the creeper: the moving leaves seem to beckon to her.

Priyamvada sees the same beauty as the King; it is absolute beauty; both agree.

"Dusyanta is calling you" that is the dvanyarta (saying one thing in terms of another).
The creeper hangs on the tree for support while putting out flowers.
This is also schematic.

The bark garment - why is it tied with delicate knots?
"Both spoiling the beauty, as also acting as an ornament".
This means that the dress is embellished from the Numerator
and detracted from by the Denominator.
Beauty is brought out by contrast, as in the case of the spots on the moon or a lotus next to moss.
A leaf can cover a flower in its tender state; it can also be an ornament to its beauty. Both are presented here.
The King purposely leaves the paradox here.
The delicate knots are supporting the breasts from the numerator side, from the shoulders.

P38

To appreciate the beauty of Shakuntala, approach her from the austere side, her youth comes from below, there is a tragedy when youth and austerity meet.

Shakuntala is like a mango sprouting young leaves, a creeper putting forth flowers.

There is a dialectical relationship between them; the marriage of plants at the proper season, a gentle conspiracy of nature.
One must be attuned in order to appreciate these factors.
There is a pre-established harmony (cf. Leibnitz) between the mango and the creeper.
Nature is full of occasionalism, especially in the spring.

What is her caste? - his conscience is his own Pramana, his heart will only be attracted by a certain type of woman.
She must be, among other things, fully horizontal and vital.
The King belongs to the horizontal context, so the wife cannot be like a peasant, below the line on the negative side.
How can a vertical girl meet the horizontal king?
He is puzzled by the one-one correspondence in the Ashram.

The King's speech about the bee - dvanyarta (see above)
- the King is describing his own intentions through the reality of the bee.
The bee is flying between the ears and eyes and the lower lip.
This is the square root of minus-one: the beauty of a woman is to be found on the negative side.
The bee is a universal principle of honey seeking; the buzzing noise is meant for nature to hear that it is seeking something.
It is touching the throbbing eye - the eyes are like the Sapharika fish: the seat of gossip is between the eyes and the ears - between what you see and what you hear. The lover will be doing the same thing, kissing the eyes and the ears and whispering - just like the bees: put them together and you will get a mystical world which can take in the Absolute with all its implications.
If the bee appreciates her face, then it is Absolute Beauty.
The King is alluded to - the whole of nature conspires.
Shakuntala feels emotions not fit for an Ashram, she knows they are horizontal.
The King says that he is on duty.

P39

There is a sparkling light - trembling beauty comes from the hypostatic side; it cannot come from the "surface of the earth".
This relates to Shakuntala being born of a heavenly nymph.
Shakuntala's beauty is not only sprung from nature, but descends as well from the Numerator: real beauty comes from the two sides - there is a glow that is not from chemistry, but it is faster than the velocity of light.

Movement begins to build up vertically.
The chariot and the charioteer cancel into Zeno's Paradox.
Vertical values begin to prevail, the ascent begins. The dotted circle is magic, inside it there is no fear.
The second pedestal is created by bringing in the horses; actual speed is transformed into psychological speed.
There are three deer: afraid; not afraid; not sacrificed,

There are two pedestals:
1. Jaina - referring to space
2. Vedic - referring to time
This refers to history, not geography: one is in the mind and the other is outside it.

To bring in the reciprocity of movement, you bring in the horses, who are afraid of the speed of the chariot: not just A > B, but A B
Then it becomes vertical.
Now two O Points have been created as two pedestals.

The ripples on the river are the hairs upon the mother's skin -
she descends from above to feed the baby:
this is a Vedic heaven, which nourishes the child.
The river surface glistens from the sun above, not from below.
The O Point here is the navel of the mother.
The Sun God shines on the river, the nourishment is sucked up by the tree.
There is a fire at the O Point, a fire of hunger or of sacrifice.
So there are two pedestals: proto-Aryan and Vedic.

This is the structure of the first description for comparison
Anyway; the two pedestals are constructed.
Bhur-, Bhuvar- and Svar-lokas (the three worlds of earth, heaven and in between) correspond to:

1. Cognition
2. Dusyanta's forgetfulness, the breaking of the continuity
3. Re-cognition.

The second pedestal also contains fawns - for kindness is also there.
The smoke rising makes it into a "Monde affiné".
Contemplation requires subjectivity.
Glistening is most important: the skin of a woman is where nourishment comes from: the hair on a mother's stomach is holy: it comes from above.
"The soul of a child is its rosy behind".
The Vedic world is brought in for need of a voice from heaven for his cosmology and for the telling of the story.
The deer are innocent: note their willingness to believe... this is not Jaina.
"Tremulous beams" - their origin is in the sun and the moon, not the earth,
so he recognises the hypostatic side: Saraswati
(see V 75 in the Saundarya Lahari of Sankara).
The hermits may be questioned: they have no reserve, no cheques to cash.
No conventional barriers; "contemplatives are not bothered by conventions".
"Having eyes like her own": female deer >< Shakuntala.
The bright eyes are very vertical. A husband is not needed.
This is the Absolute from the negative side. It is vitalistic.
Is she going to continue vertically, or is she going to spread out to the horizontal?
She is dependent on another; she will not make her own decision.
If the horizontal had not interfered, she could have continued vertically like the deer, as a Brahmacharini (ashram student), this is the implication.
Priyamvada says that Shakuntala is meant for marriage;
thus the King is not violating Shakuntala's svadharma (destiny).
The vertical line of light is to be broken.
The King asks: " Is she going to live the rest of her life like the female deer, with half-drunk eyes?"
She has certain traits, which show she wants a husband badly.
The King wants to say that Shakuntala is perfect both vertically and horizontally; thus the event has to take place exactly at the O Point.
It is possible for her to pass through the horizontal without incident,
but Kanva intends her for a normal marriage.
This means that the two axes must combine and merge properly.
Do not say that one is good and the other bad.
Take what the King says, what Priyamvada says and what Kalidasa says and put them all together in the scheme of the Nandi: get salvation.
A woman has to be dependent on her father's wish:
this is the saddest of truths. She has to be dependent.
Why is a father's soul so concerned about his daughter's chastity?

P41

If you neglect the father's wishes there will be disaster.
The fire and the gem: the King thought it was a fire in a cavern, but it was a gem.
Poetic justice requires that the King be correct; his duty is now clear to him;
it is almost a categorical imperative that he makes love to her.
But he will forget, as the first dimension causes the fourth dimension to be lost.
Neither of them is a yogi:
the King is non-innocent and horizontal,
Shakuntala is innocent and vertical.
Life is a paradox, understand that and it dissolves itself in the liquid of unitive understanding.
The obstructions seemed to have been removed from the King's social conscience. Kalidasa seems to be approving.
Gautami is the mother superior of the convent; it has to have supervision.
The first-dimensional touch of anger is to be there:
there is no idealism in Vedanta: it is apodictic and realistic.
Bodily movements, etc. - there is little difference between intentional movement and actual movement:
"as if he had gone and come back again".
Intentionality: he thinks of going, then changes his mind.
Actual going and coming has the same status as mental going and coming.
Shakuntala is spoken of as a "hermit's daughter" in order to bring in the fourth dimension, making her a universal concrete.
So, the intentional and the actual have the same status in phenomenological epistemology.
The girls are all interested in Shakuntala's love.
The Absolute is participated in by everybody.
There is some Absolutist interest.
Priyamvada turns her back; she does not want to leave.
A beautiful pose - later for this.
The King's ring - She must be tired from carrying water, the King will pay the debt with his signet ring.
Description: both her hands are red from lifting the two pots
There are two trees to be watered, her hands droop, her breasts heave, etc.
Thus dvanyarta (saying one thing in terms of another), the O point in a woman's life has been touched:
the whole of nature conspires to unite her with Dusyanta.
Instead of watering the plants for her, he gives her the ring
- this needs more attention.
The debt of Shakuntala is "paid": the whole thing is conceptual and nominalistic.
Shakuntala says: "I do not belong to that world - settle your disputes
- I am on the Denominator side, and that is another order of existence.

P42

The alarm is sounded - the harsh, horizontal world intervenes.
The elephant is Ganesha, who must be propitiated if the forest is to be peaceful: space and wind can create trouble: the elements in turmoil are Ganesha.
Shakuntala is held back: nature conspires to have its own way.
Does it really conspire? Nature can laugh at you.
Nature can both protest and conspire.
At a given moment in a woman's life it becomes absolutely necessary for her to have a child.
When nature conspires against a man, he should know how to propitiate the elephant god.

THE DARSANA MALA OF NARAYANA GURU

A philosophical system in the West means logic, not experience.
Indian Philosophy depends on the experience of a yogi
- it is called a vision, or Darsana.
Indian Philosophy has a different kind of logic for each Darsana:
these are closed systems, which are graded.
We may read: "I am not in them, they are in me" and again:
I am in them and they are in me ",
or: "The ocean is not in the wave, but the wave is in the ocean".
There are many possibilities.

Narayana Guru adopts many different logics; he grades them by going from the known to the unknown.
Thus, the first question is "whence this world?".
Narayana Guru respects this question and replies with the first Darsana.
He first accepts this world is a given datum.
Why is there reference to a "Lord"?
The first Darsana is Adhyaropa and the second Apavada.

P43

Vedanta has been charged with:
Solipsism - quoting itself in support of itself;
the argument of self-evidence of the self.
Syncretism - that it is an aggregate of miscellaneous opinions.
Eclecticism -
Escapism -
Pantheism -
Idealism -

There are traditionally 6 Darsanas:
1. Nyaya - whose guru is Gautama
2. Vaisesika - whose guru is Kanada
3. Samkhya - whose guru is Kapila
4. Yoga - whose guru is Patanjali
5. Purva Mimamsa - whose guru is Jaimini
6. Uttara Mimamsa - whose guru is Badarayana

CHAPTER I
ADHYAROPA DARSANA

Adhi - "towards"
Yaropa - "supposition"

We take the sense - data as true to begin with;
we progress from the known to the unknown.
We see the physical world.
If we call it real, what are the implications of this, according to Vedanta?

The second Darsana will say: "Do not put it out there - outside
- it is inside, in the mind."

How does he reconcile "O Lord Supreme" and "Everything was nothingness"?
The Absolute is a paradox - look at it one way and it exists, in another way it does not exist. Put something and nothing as axes.
Here the vertical exists and the horizontal does not.
In the last verse, the horizontal exists and the vertical does not.
God is a mathematician, creating a mathematical world.
"Dreamwise" is conceptual.
The "Lord Supreme" is the Absolute.
A cup in a dream occupies no space.
"Again by mere willing" - God was lonely and desired to create the world
- it could not have been otherwise.

P44

"Dreamwise" and "willing" mark this as Vedanta.
He created only dreamwise from nothing - stop complaining.
In other chapters "The Lord Supreme" will be changed to Maya, etc.
.

It is not "grosso modo" now, there is a slight tuning.
From a mathematical god, we go to incipient memory factors (in the memory of God).
Memory is just beginning to function, it is incipient.
"Incipient memory factor" is the translation of "Vasana" in Sanskrit.
"Then the Lord, by his own power of false presentiment" - this is the dark side of nescience, and what is seen through it is false.
If you see a ghost in a post, this is the nescience principle,
This is the negative side of God, negative illusions - realities are positive.
God is like a magician; he can represent things that are not there
- this is the eidetic presentiment of the mind.
The negative side - nescience- creates the positive side, this world.

This is a vertical creation from, in, through, by and for, God.
The Absolute cannot be an outside cause for God.

4. Light and Dark, Negative Absolute and Positive Absolute,
They have reciprocity between them and are independent and mutually exclusive and antinomian.
Here the basic structural feature is given by Narayana Guru: Positive and Negative.

5.A neutral analogy: a picture in the mind - creation and cause are here brought close: the cause in the mind and the effect on canvas.

6. Why a Yogi? When a Yogi materialises something,
what he puts on the table is positive and overt: the power in him is inert and negative.
This is "for those who are willing to believe":
do not question the validity of the example, just ask for another.

7. Ghost-like nescience prevails. A child is caught between the opposites of dark and bright, it is because the link between intelligence and non-intelligence is not strong.

8. The problem of evil is met here. (Cf. Voltaire on Leibnitz, who talks of "the best of possible worlds")
"Yes, it was terrible..." (re the Lisbon earthquake in Candide)
He calls it a wonder: the paradox, when pronounced, becomes a "Misterium Tremendum".
Narayana Guru resolves the paradox by accepting this terrible world.

P45

There is a terrible side to life: "in the blues".
Do not say that a tragedy like the earthquake does not happen, Narayana Guru recognises it.
Include tragedy in your life.

9. An important doctrine of Vedanta, which will not accept evolution, because it is mechanistic.
A slow, gradual process of becoming is not accepted: all came to be at one stroke.
(Cf. The Big Bang theory).
Insert the vertical axis, he will not concede the horizontal axis here.
He wants a flash of lightning and the vertical axis.

10. Whatever you say, this world came to be, and there must be a cause for it.
Trace it backward and find the negative source of everything, as the clay is to the pot.
The manifested is horizontal.
Abolish the three Gods into the Absolute as the material cause of the universe.

CHAPTER II
METHODOLOGY
(NEGATIVELY WINDING)

This will neutralise the previous chapter.
This is reduction after the previous chapter's construction.
The first chapter is slightly teleological, this is removed here.

1.You cannot abolish your mind, even if the world is unreal.
The duality between existence and non-existence is abolished in consciousness.
We descend backwards into the mind.

2. Cancellation to arrive at the Absolute.
Sinking into the source.
The World is reduced; the source of the effect is the cause.
For smoke it is fire. The carved lion is the effect and the ontological basis or cause is the stone.
This is satkaranavada (primacy of cause over effects) - delve into the cause - do not get lost in the many effects.

3. IF CAUSE AND EFFECT CANCEL (HAVE THE SAME STATUS) - THEN YOU HAVE THE ABSOLUTE.
There is an inter-dependence between cause and effect.
How could the effect have being, and the cause non-being?
This is a phenomenological epoché; turn the brackets.
The secret of dialectics is that one side is open, the other closed.

6. Avoid contradiction and tautology and you get the Absolute.

7. Quantitativeness is abolished in the mind by division ad infinitum
- it becomes qualitative.

8. Neutral Monism = mind-stuff
Pure = thinking substance

9. Sat-cit-ananda (existence, subsistence and value)

NOTES FOR TALKS ON CHAPTER I

1. "In the beginning" means vertical
"Thereafter" means horizontal.
He depends on nothing outside himself.
The universe is created "dream-wise", from nothing, by his mere willing".

2. The Lord stands alone like a magician; there is nothing in the universe other than God.
He has a certain power of specification or qualification called Maya.
This world is false.
The act of creation takes place in and through him.
Vasanas are incipient memory factors.
Negative nescience creates positive illusions (realities).

3.The Lord is not subject to any process of becoming:
only the potent power within the Lord is capable of creating this world.
God externalises and internalises himself.
He has his own neutral epistemological status.

Verses 1-5 give primacy to externalisation.
Verses 6-10 give primacy to internalisation.

Verses 1-10 give a constant neutral epistemological status,
Before a more full view of the Absolute, which is given later.
This is vertical creation.

4. The power is of two kinds -
Taijasi: belonging to light, or heliotropic.
Tamasi: belonging to darkness, or geotropic.
There is no coexistence between them.
The arrow of pure becoming goes both forward and backward.
Measured or measurable time is thus ruled out.
(Structure - see verse 9)

P47

5. The world has only of a mental status before creation.
This is a Neutral analogy.
Mind-stuff is Virtual
There is the Pure and the Practical.
The universe is only an artistic expression of the mind of the Lord.

6. This verse deals with cosmology.
Psychic powers = incipient memory factors = Vasanas
Prakrti: the mind with expanding and contracting tendencies
Sankalpa: willing
Shakti: potent specifying power
Manas: mind
Prakrti (nature): some meaning.

The Lord remains a constant, neutral between cause and effect.
In Verse10 - the Ultimate and Totality.

7. This verse deals with psychology.
Creation is terrible without Self-knowledge.
Correct knowledge about the Self makes suffering disappear.
The subject matter is Atma-Vidya, or final release.
The creation of the Lord includes suffering aspects.

8. The Lord is able to create with no basis in reality because he is all-powerful.
It is wonderful because empty of content and yet still a "marvel".

9.At one stroke from the Self, as if from sleep, come by the willing Self out of the Self, as when you wake from deep sleep, the world appears.
The One Self thought, "Let me be many".
The Lord's power is so great that it appeared at one stroke.
Bring the four aspects together - it is the same Absolute.

10. The Lord is both instrumental and material cause.
The initial supposed position is taken: it will be neutralised in the next verse to present the attributeless Absolute.
The concrete universe is proper to this chapter.
The seed and a tree belong to a concrete, yet universal biological order.

P48

CHAPTER III
PHENOMENOLOGY
ASATYA DARSANA
The first chapter dealt with construction: the creator is seen from ten perspectives: biological, cosmological, theological, psychological, etc.: cause and effect.
The second chapter is a reversal, here there is a negative perspective,
by reduction we arrive at an irreducible minimum: sat, chit, ananda. (existence, subsistence, value)
Here we have further reduction from the ontological source of the universe to arrive at a negative source, Maya.

A first-degree descent is made, and unreality is dealt with here.
Is the world unreal? Many philosophers say yes.
There is a principle of falsehood, Avidya, on the negative side.
This is first-degree negativity - Asatya-
when we press it one degree further, we will get Maya
-which is more intense and more general.

Eidetic Presentiment: see Buber, Jaspers, Sartre, etc. on the falsehood of experience.

Kant writes of the Noumenal, or Absolute, and the Phenomenal,
or the domain of cosmology.
This is a new Darsana, corresponding to Husserl.

Falsehood or false presentiment is defined by Narayana Guru.
You think you see something, but there is no basis or foundation for it
- this is an eidetic phenomenon.

Existence belongs to the phenomenological order - thus it is only an appearance"
The negative method: falsehood arrives at existence.
"Omnis determinatio negatio" (all determination is a negation)

1.The world is seen in the self.
In the negative side of ourselves there is something corresponding to the blue in the sky.
There is an example and a definition in each verse.
Blue is a phenomenological effect. It is false.
The blue of the sky is the type of effect we are concerned with in this chapter.
The Self is the reality; the mind is false; it is compared to the blue in the sky.
The mind is seen in the Self - it is false.
Asatya is the blue.

Additional notes:
In the Subjective Self we have a presentiment of the world.
As we see the qualitative blue in the quantitative sky,
so there is a colour solid, which is qualitative: the world is here seen in a nuclear form in the Self, which is quantitative like an ocean.

P49

2. Mind and Nescience mean the same thing.
The mind ON THE NEGATIVE SIDE is the cause of errors, of eidetic presentiments.
It projects the world we see on the positive side.

Make the mind more negative and it becomes nescience.
When it goes to the positive side we get a presentiment of the will, which gives us our view of the world.
The mind, on the negative side, becomes the will on the positive side.
If nescience is abolished, then the will is a mere configuration:
i.e. it is not so real and frightening, it has a milder form of reality, like a drawing.
This is when we push the mind back up to the O point.
The mind matches with its own variety of presentiment.

3. The coward sees a ghost and begins to scream: this is caused by ignorance.
The more knowledge there is on the Denominator side,
the less reality there is on the Numerator side.
The source is the mind; the effect is what you see on the Numerator.
Cancel them out.

4. The method of agreement and difference:
there are five electric switches and you want to find the right one:
put them all on, put them all off: the result is certitude.
The relationship could be expressed as "no will, no world; no world, no will":
thus it is a necessary, not a contingent, relationship.

5. The will is positive; mind, or nescience, or darkness is negative.
Magic, like Indra's is on the positive side; mind is on the negative side as the cause.
They are interchangeable terms.

6. A mirage is only a reflection: it has a false status compared to real water,
just as a reflected image is false.

7. Vedanta does not accept evolution. Matter is a presentiment.
You think that there is evolution - there is only an eidetic presentiment,
created by Indra's magic.
This is the difference between Darwin and Bergson.
So this is the Big Bang theory: someone switched the universe on.

P50

8. The terms have to have bipolarity arranged and graded.

9. A child will say that the doll is hungry.
A mature man sees the world as an eidetic presentiment.
Falsehood has a plus and a minus side: the plus side is tolerable to the mature man.

10. The extreme limit of negativity is Asatyam (the unreal).
Satyam (the Real) is the positive pole of the same structure.
The negative pole is the Absolute Unreal
It is a stone in this chapter, in another chapter it can be a lion - teleologically. Here it is a stone, which is real.
The Phenomenological epoché is what is under reference here:
See Husserl, Heidegger, Jaspers and Buber.
Always use synonyms: arrange the terms negatively and find the synonyms on the plus side.

The errors: Thinking that the reflection is real is more foolish than trying to find the doll.
The first error is horizontal; the second is vertical; deeper and peculiarly human.
The grades of error of appearance and falsehood have been given here in preparation for the next chapter, Maya Darsana.

ADDITIONAL NOTES ON CHAPTER III
There is a delicate inversion in the first verse:
The Numerator: in the expansive sky, the blue is seen.
Invert that sky - turn it upside down and put it inside yourself:
in the expansive Self this universe is seen.
The blue and the universe are both seen to be qualitative, with a one-to-one correspondence between them.
A child has a presentiment of life in its doll.
Is the mirror image real or the object real?
Neither is real: this is Asatyam.
When the mind, which is negative, functions, you get the will, which is positive.

P51

By examining falsehood you arrive at Brahman:
the mirror (horizontal) and the doll falsehood (vertical), when seen together, reveal a circle in the centre,
which is Brahman, phenomenologically understood.
Extract the negative root, your brain will burst into Indra's magic, as if through a tube.
Darkness is the cause of the blue, of the world, of Indra's magic, etc.
You get Absolute Falsehood.

ADDITIONAL NOTES.

1.The world originates in the mind, but there is no mind to be seen.
A philosophy that puts the mind at the centre as a phenomenon is phenomenology.

We cannot see the mind.
The quantitative sky has qualitative blueness.

STRUCTURE SLC8 - P51C

There is a vertical series:
Indra's Magic
The Will
The Mind
Nescience
Nature

CHAPTER IV
MAYA DARSANAM (VISION OF NEGATION)
"That which deceives you into error, generically, is Maya"
Cf. the "Negativitat" of Hegel, Schopenauer, Kant, Fichte, etc.
Negativity is that which is not positive.
It leads to what is not the Absolute.
"Omnis determinatio negatio" (all determination is a negation - Spinoza)

So, Maya is the name for the Negative Absolute.

In Verse I, Narayana Guru itemises all the possible kinds of negative error, seven in number:
1st - Vidya - Wrong judgement - faulty knowledge
2nd - Avidya - too much importance to the immanent
3rd - Para
4th - Apara
5th - Tamas
6th - Pradhana - The seed contains the oak-tree, space is abolished
7th - Prakrti - The centripetal force of becoming, it expands horizontally.

Note the neutral position of the fifth verse.
Negativity is a vague idea to be understood through examples.

So we have classified all possible illusions: we can do no more than that.

P52

VERSE 1
Maya is what is not real - it is the category of all possible error, what really does not exist but seems to exist in practical life.
Chapter III, Phenomenology, was translucent error,
what we have here is a more opaque error.
Chapter V is even darker, though two-sided.

VERSE 2
Maya = non-existent = Absolute
The world's prior non-existence, as in the pot and the clay.
It is the principle of indeterminate possibility.
It also covers Manas and Sankalpa.

VERSE 3
Vidya, knowledge, is the bright intelligent side of Maya.
The other side, faulty knowledge, is the dark, ignorant side.
This is double negation in order to double-assert the Absolute.

VERSE 4
Avidya means "contrary to science".

VERSE 5
A neutral verse.
This verse deals with Para, the transcendent, and the Cidatma, or reasoning self.
The Cidatma is pure reason and the self.
The Jiva is the vital principle, experiencing pleasure and pain.

VERSE 6
The mind imagines suffering and pain
- thus it is transcendent - Para - not gross, but subtle.

VERSE 7
What remains in the self in the form of gross presentiment
- the world, as a product of the mind is Apara: the gross.
The negative, ontological, fully existential Absolute has a nuclear pattern of reality as a universal concrete: the colour solid.

VERSE 8
The cause of the supposition of the world in the self is Tamas (darkness).
Darkness is the cause of the silver in the mother-of-pearl,
As also of the blue in the sky.

VERSE 9
Pradhana is the ontological source of Maya.
It includes the world as a seed at the Alpha point.
Space is abolished.

VERSE 10
Prakrti, nature, spreads out the three nature modalities.
Nature is the basis of what is seen in the world.
Narayana Guru wants to underline that Nature should not be left out.
The Sanskrit prefix "Pra" - means "more so".
"-krit" means "overt activity", hence " Prakrti"
"-dhana" means "to contain or hold together", hence "pradhana"

P53

CHAPTER V
NORMALIZATION - CONSCIOUSNESS
BHANA DARSANAM

This Darsana is like the Mandukya Upanishad; it is pure structuralism.

Bhana is overt consciousness; it is overt, teleological and objective.
Bhanasreya is the basis of consciousness; it is perceptual, ontological,
subjective and basic.

STRUCTURE SLC8 - P53A

Bhana has four types of consciousness.
Bhanasreya has four types of consciousness.
Both of these four have generic and specific aspects.

There is a one-to-one correspondence between the divisions of the Numerator and the Denominator.
Finally we get sixteen subdivisions:
four generic and four specific on both sides.

Consciousness is both inside and outside.
There is a rapid alternation between the subject and the object;
a kind of pulsation or propagation; you can hear the bees' wings buzzing.
It is a figure eight and it is nothing.

STRUCTURE SLC8 - P53C

This structure is a conic section.
Submit consciousness to abstraction and generalisation and you get the Absolute.

VERSE 4
"I" is generic, "body" is specific.
"This" is generic "pot" is specific.

VERSE 9
You cannot know the Self, but you can feel the Self.

VERSE 10
This is a Mahavakya (fundamental aphorism of Vedanta): neutral and normal;
it is evidence of the perfect symmetry of this work.

P54

CHAPTER VI
VISION OF ACTION
KARMA DARSANAM

Kutastha - the Self established on a rock, alone.
A false soul standing on a rock is compared to Karma.
Karma is verticalized action, pure action, instrumentalism; not ritualism, fate, etc.
Here, it refers to the plus side.
Corrected Karma is called Dharma, or right action.
This is like the instrumentalism of John Dewey:
"We are all instruments of action" - functionalists, operationalists.
They do not want to talk about a soul or God - thus they talk of instruments.
Man is acting: the motive force is the Self, which is seeking.
The Self on the negative side is seen as an instrument of action on the positive side.

VERSE 1

STRUCTURE SLC8 - P54

It is the Self, through Maya, that performs all Karma.
The cause is the Self and the effect is the Non-Self.
The principle of indeterminism intervenes between the Self and the Non-Self, causing them to interact.
The Atma or Absolute Self is actionless and vertical.
The horizontal version of the Self has many actions.
The Denominator Self is the cause of action.

P55

VERSE 2
Most elementary actions are itemised here.
These are delicate and pure forms of action.
Passivity is evidenced here.
It is the Paramatma or Cittendriyatma, the Denominator Self,
by which action is done.

VERSE 3
Anterior to action is the Self, alone. Maya has a negative and horizontal influence here, which keeps things swinging.

VERSE 4
The paradox of action and the actor.
Eliminate duality - there is really no action at all: just as there is no water in a mirage.
So there is no action when the situation is verticalized.

VERSE 5
When eating, you should say, "I do nothing" and thus banish relativity.

VERSE 6
Is fire burning action? Individually, yes.
But it is really only the Positive side of the Absolute, cancel it against the negative side.
There is no action; action is relative to the whole.
All is absorbed into the whole.

VERSE 7
Inside the body you hear murmurs, etc.
Again, cancel out the paradox.

VERSE 8
Existence, birth, growth, change, death, etc. are all biological and horizontal.
Verticalize them and it is abolished.

VERSE 9
It is the Self that causes action, but you should say, "I do nothing".
The Omega point Self is the result of the Alpha Point Self: cancel into the Absolute Self.

VERSE 10
By being objective reality, even the Self; because you see it as the Non-Self,
is a kind of conditioning: even as a reflected glory it comes under the Eternal.
The Omega point is the result of action.
The Alpha point is the cause of action.
These cancel out into the Absolute.
We have changed from descending to ascending dialectics,
we arrive at an Omega Point like the mother-of-pearl:
we get a God who is conditioned.

P56

CHAPTER VII
VISION OF AWARENESS OR REASON
JNANA DARSANAM

Now we come to reason.
Reason is seen here as a function of the Self.
Previously it was seen as action; here it is white hot as opposed to red-hot.
When the frequencies are very high, we get reason.

STRUCTURE SLC8 - P56

VERSE 1
The two kinds of reasoning are presented here:
pure or unconditioned, and practical, or conditioned.

VERSE 2
Conditioned reasoning is presented here: you think that you are thinking.

VERSE 3
"I am conscious of my ego, and can distinguish the two aspects of the Self."
When a man says that, he has self-awareness.

VERSE 4
Awareness of the Non-Self is dealt with here:
this means lost in pluralism and a plurality of interests. "What profiteth it a man if he gaineth the whole world...."
This is the converse of the previous verse.

VERSE 5
Knowing after proper scrutiny is called true knowledge:
Other knowledge is false knowledge.
Both are awareness of a conditioned order.

VERSE 6
Pratyaksha is empirical awareness, as given to the senses.
By its presence it declares its proof; it requires no logic.

VERSE 7
Inferential Awareness is when you see smoke and infer that fire is there:
this is called Anumiti.

VERSE 8
Analogical Awareness, or Upamiti, is the subject here.
If you read the description of an Okapi - it has stripes like a zebra and it looks like a giraffe
- while you are looking for this animal, you employ Upamiti.
You have not had the experience of Brahman, but you have heard of it and work towards it.
This is all-important for Brahmavidya.

P57

FURTHER NOTES ON KALIDASA'S RITUSAMHARA.

A woman in love is the proper starting point for Kalidasa.
The heart of a girl in love touches the Muladhara Chakra.
We get a Cézanne world: slightly subjective and out of focus.
"A MAID IN MEDITATION, FANCY FREE..."
THIS IS A FIT STARTING POINT TO DISCUSS MYSTICISM;
IT DOES NOT GET STARTED WITHOUT EROTICISM.
Rain touches the roots of a creeper: that happiness in the plant can be reproduced in the Muladhara Chakra within you: add to this a slight mystical eroticism to move the Kundalini.
This is one feeling in the range from Kundalini to Khecari.(from the bottom to the top of the vertical axis)

Eros is in the centre.
The singing of the cuckoos is vertical.
The elephants in rut are the horizon spatialized.
The Malaya breeze comes at flower time.
Eros operates best only under special circumstances - in springtime.
The arrow as a mango blossom: the sweet fruit is preceded by tender, magenta-coloured leaves:
that is where the process of horizontalization takes place in Nature:
you can see it in the flowering of the mango.
This is seen in the Purnakumbham offering, which is a brass pot full of water and wound with string, with a coconut on top, surrounded by mango leaves.

ANYTHING THAT ATTAINS TO THE O POINT CONQUERS THE WORLD.
The arrow means time's arrow.
The bow is made of flowers, the bowstring of bumblebees.
The bees are enjoyers - the flower bow is the enjoyed.

P58

DARSANA MALA

Verse 9
Do not mix these up:
Jiva Jnanam: vital awareness.
Indriya Jnanam: sense awareness.

Verse 10
You get certain knowledge, parajnanam, from the mantra "Aum Tat Sat". ("Aum, that (the absolute) is the existent")
This is only for contemplatives.
This is called ultimate awareness.
A parajnani is aware of something beyond, on the plus side.
A jnani understands subjectively.

Appraise the transcendental from the immanent, as a witness.
This is the strict Vedantic position.
Experience the truth like a gooseberry clutched in your hand.

Every chapter is about the Absolute.
Chapter VI is not about overt action, but somewhat contemplative.
Chapter VII: reason is action, but more so, much more so.
It is action at a higher frequency.
Narayana Guru distinguishes only four kinds: he applies Occam's Razor.

CHAPTER VIII
VISION BY CONTEMPLATION
BHAKTI DARSANAM

The remaining chapters are going downhill and are not so difficult

Bhakti and Yoga can be treated together:
there is no real difference between them, more a difference of degree.
Bhakti is a kind of natural Yoga, a dog can have it;
Yoga is more advanced.
There are two Yogas: Jnana Yoga and Karma Yoga.
This distinction is also to be abolished and treated as one -
the two names meet in Advaita. See the Bhagavad Gita.
Bhakti: there is no acceptable text for this Darsana.
It is more demonstrative and appeals to the mind of the public:
they do not abolish paradox, but want to remain caught in it.
The Gita Govindam is a textbook for Bengali Bhaktas.
What is the legitimate way of treating Bhakti?
We can put the Absolute, the object of devotion, at the Omega, O or Alpha points.
No excesses.
"I am very humble, but I have a master who is very proud":
this is the proper cancellation, no unilateral Bhakti is permitted.
Sankara recommends Bhakti as the most superior way to liberation:
but contemplate the Self within yourself.

P59

Verse 1
Bhakti is meditation on your own personality, or Self, under the aegis of the Absolute.
The soul is the dearest thing within a human being.
The kingdom of God is within you.
The Self is the dearest of values.
"Seek within".

Verse 2
Here there is a change from Atman, the self to Brahman, the absolute. It is full of bliss.
Ananda (bliss) is the value-content of the Absolute.
All truth has a value-content.

Verse 3
Think of happiness - bliss is the value-content of the Absolute
All truth has a value-content

Verse 4
Bhakti is defined by the Atman because one worships one's own Self.

Verse 5
Ananda - Brahman - Atman (bliss. The absolute and the self): these all mean the same thing.

Verse 6
Have this unitive vision sustained: this is the true state of the bhakta (worshipper).
One in this state will be well known as a contemplative.

Verse 7
Wife and husband are included here, as with Yajnyavalkya the Upanishadic guru and his wife Maitreyi
Both are put together into a circle which is dear to them:
"for the sake of the Self, we love each other".
There is no unilateral love or statements of love.

Verse 8
Bhakti is when you feel the joy of the soul everywhere.
This is Saundarya as a value.
Atma sukham or Self-Bliss.

Verses 9 and 10
This is a review of all kinds of Bhakti: the Father in Heaven, Spiritual Teacher, etc.
There is a graded order: the father "there", those who walk the path of truth "here".

P60

CHAPTER IX
VISION BY MEDITATION
YOGA DARSANAM

Only one Mudra (gesture, practice) is given here by Narayana Guru as a positive discipline.
The Asanas (physical practice) are thus left out by him.
Patanjali only mentions one Asana as being required: sitting straight.
The object is to forget your posture completely:
the Yogi should have one Asana, at which he is so well-practised that he can sit still and forget his body.
He should be able to sit for three hours.
Pranayama: (breath control): the essence is found in the Gita:
"Forget to know whether you are breathing in or out - you are cancelled out".
Narayana Guru here presents his revised version of Yoga, as properly understood in Vedanta.
Wilful austerities are for Sudras only: there are respectable Sastras and texts.

Verse 1
Yoga joins the mind with the reasoning Self, and gets united with it.
The second part is Narayana Guru's addition; horizontal and vertical are joining.
Restraining is Horizontal.
Joining is vertical.

Verse 2
The object of meditation is to abolish and verticalize these three: seer, sight and seen.

Verse 3
Abolish all multiplicity of name and form - give them conceptual form.
When all plurality is abolished in the vertical, you get Yoga.

Verse 4
Yogis have a principle of continuity - the streak is not to be broken.

Verse 5
Pull the mind back if it goes to another subject or association.
Bring it back from horizontal tangential side-tracks.

Verses 6 and 7
The expert understands the outgoing will as having to be merged into the vertical will. Pluck outside interests and burn them in your consciousness.

P61

Verse 8
The bee does not move when it enjoys the best:
that is the state of Yoga - forget yourself.

Verse 9
Kechari Mudra: "moving in the sky" - this is a top secret of the Yogis.
Levitation in psychophysical space, which is vectorial or qualitative.

Verse 10
Jnana and Karma.

CHAPTER X
VISION OF ABSORBTION
NIRVANA DARSANAM

Here, we are in the eschatological context.
This is the last jewel in the garland.
We must end where we began: coming in (Chapter I) is reciprocal to going out (Chapter X).

Going out of this world is like a lamp going out without oil,
or a dewdrop sinking into the sea, as with the Buddhists.
Here, we take a more scientific approach.
This is the final form of spirituality, the final trick.
Thus this Darsana touches the same ground as Chapter I.
A dying man, not physiologically dying, but the spiritual man.
The implications of death are seen contemplatively.
Eschatology is the contemplative term of life.
One who attains Nirvana: how does he act?
Narayana Guru enumerates the kinds of Nirvana
but with peculiarities that seem to be gross.

P62

Verse 1

"Pure" is not conditioned.
"Impure" is conditioned by instincts.

Verse 2
Then he divides it into pure and extra pure,
into pure-impure and impure-impure.

Verse 3
Extra pure is divided into: elect, more elect, and most elect.
Pure is the simple or normalised knower of the Self.

Verse 4
Pure-impure desires liberation and impure-impure desires Siddhis or psychic powers.
Finally "my" devotee will never be destroyed - so you feed every swami (ascetic), even if he is a bad swami - God will cancel him, not you.
You must credit him with his intentions.

Verse 5
The normal Brahmavid (Brahman-knower) does action according to what is right:
This is the first rung.
He is wandering because he has some vitality left.

Verse 6
The superior knower of Brahman is the Brahmavidvarah.
There is no social service here, he is beyond that, and he is a superior man.
Social work is only permitted to the beginner.

Verse 7
The Variyan does not eat unless told to or reminded to.

Verse 8
"Here is food - eat it!" - "I do not know this food- eat it yourself or take it away".

Verse 9
Reject or accept nothing.
Be neutral - that is Nirvana.
Balanced between yes and no.
Interest is in the Self.
The conclusion of this Darsana is here.

Verse 10
Avoid any duality - withdraw.
"He does not return again".
To gain freedom from duality in the final term.
"I am as ready to die as to live": this is complete neutrality.
The final conclusion of the whole work is here.

P63

CONTINUATION OF THE COMMENTARY ON KALIDASA'S SHAKUNTALA
END OF ACT I

The power of the King is bright and derived from the Numerator side.
Shakuntala gets caught in a tree, while the others fall faster.
She says: "I am an ontological reality, why do you (illegible: "plore"? ED) for me?"
The King derives his power from the sun and moon.
"Holding hair": keeping a connection with the Numerator side: she is trying.
She is naturally falling down, but the tree is holding her.
The two plants to be watered means two children.
Water is at the Alpha point.
Perspiration is cancelling the Sirisa flower.
She is panting, in a completely negative state.
Her red hands mean that she is completely healthy - it is not due to bad health.
You have to worship the elephant to calm the situation.
The horizontal zone is forgetfulness. Memory is vertical.
The whole mistake was when the King came to the ashram.
The King kills deer, why come to the ashram?
Shakuntala is like a deer.
The drooping Sirisa flower means unhappiness - a negative suffering.
If the Devi's eyebrows vibrated, Shakuntala would be lifted up.

STRUCTURE SLC8 - P63B

Shakuntala has the fatigue of a woman who is not married.
The Sirisa flower's glow is disturbed - it is numerator and disturbed by the denominator perspiration.
The flower is not happy, because she is unhappy inside.
She is almost like a dying person, she is panting.
Do not ask her not to get married.
There is delicately woven language here;
2 plants = 2 children
2 pots = 2 breasts
2 waters = 2 milks

P64

The most important thing is that nobody asks Shakuntala what she wants.
She has to say, "do not settle my debts"
Who is concerned with Gomati's happiness?
A civil suit for debt allows the King to enter the dispute.

The signet ring - the two friends see and read it: this is the horizontal conventional world of the King:
Shakuntala does not see it.
Does she feel towards me as I feel towards her?
She pretends not to listen, but hears every word;
though her body is turned away from the object of interest, her eyes and ears are really interested.
So there is a link: there is ground for hope.
This is the same as the deer turning, but this is a verticalized version.
Then the hermits' voices are heard: here the horizontal is inserted again.
The peaceful aspect of the Ashram is disturbed.
The dust is horizontal, the Sanyasis' cloth is vertical: put them together.
The dust becomes a patch of colour - take LSD.
Twilight scene = magenta = Absolute.

There are two magentas: the Sanyasis' cloth is vertical, and the dust and sunset are horizontal.
The King's officers search for him: there is a conflict of horizontal and vertical interests.
The two friends say: "We are afraid, we are going back"
"Honoured by the sight of you" this is the perceptual side, not words.
Shakuntala is caught: "Wait until I loosen it" - delays.

"A banner against the wind": "I am related to the vertical, the heart, not to the horizontal body".
She is not interested in horizontal movement, but respects the reciprocity of the two movements - vertical.
This is the reciprocity of horizontal movement (see Bergson).
End of Act I.

STRUCTURE SLC8 - P64

(The following notes will cover these scenes again, for clarification of the schema and re-examination.)

P65

From Shakuntala about to go away.

Shakuntala wants to leave but Priyamvada "forces her back":
She says she has a "debt" of two plants to water.
The King will pay back the debt:
Kalidasa wants to give an ordinary, conventional scene; the ordinary,
the horizontal axis is here exposed.
Physical fatigue.
Einstein will be brought in later.
The King desires to give her a ring: he wants to pay wages for labour; the ring has some value.
He is a gentleman, as well as a King.
Reading the signet ring absolves from the debt.
"Who are you to send me away or hold me back? You are bargaining as if in a market-place or in a bank; I am real, existential."
Eyes and ears: a perfect picture of reciprocity - she turns away
- and yet still looks by side-glances and listens with her ears.
The alarm is sounded: untrained elephants are raising havoc -
horizontal values are prevailing.

Act II begins.
Enter Vidusaka (the buffoon): he is the embodiment of sarcastic wit:
he is bitter and dissatisfied with everything.
We should take the value-content of what he says.
He leans on his staff, feigning paralysis.
He represents a sterile world, the opposite of Shakuntala.

The conceptual world is sterile and empty of content: there is no Omega point.
No shade, some water, no sleep, wakened by the sons of the slave-girls
(hard work, activity), his joints are painful.
He belongs to one right angle of the scheme.
He is leaning on a staff - this is the structural key.
The King is on the horizontal axis with the tiger, bear, deer, the sons of the slave-girls, Yavanas, girls, etc.
The King's speech: a man in love interprets everything with himself as a reference.
You can guess from this that he is in love.
Fat hips: this is the negative vertical representing the feminine psyche.

P66

All love affairs are a reciprocity of the vertical axis.
The law of reciprocity is like the law of gravity - there is bipolarity.
He is abstracting and generalising about all people anywhere who are in love:
he is sure to use himself as a reference and invert with one-to-one correspondence.
"She is behaving with complementarity and reciprocity to my mind."
So there is one-to-one correspondence with four aspects.
The relationship is perfectly vertical.
The Vidusaka goes on to cross the horizontal - with its own quaternion.

STRUCTURE SLC8 - P66B

"Pimple on a boil" he is mocking the King for seeing only the surface, the plus side
- which will cause suffering.
He is not aware of the negative side of Shakuntala

The reciprocity between the King and Shakuntala is based only on eyes and ears - this is the vertical reciprocity: there is a perfect bipolarity
- her hips are heavy, his are light.
Shakuntala is rich in negative emotional content.
The King and Shakuntala turn in opposite directions: this is a secret;
the bee and the lotus turn in opposite directions, this is reciprocity.
The hips are compensation,
There is cancellability between the eyes and ears - this is a figure eight.

The Vidusaka does not move. The essence of humour is horizontal conflict.
His humour is always against someone, always sarcastic.
The reed bends: "I am caught in the same situation, the same stream, as you."
"Let the buffalo plunge..."
this marks the transition from the horizontal to the vertical.
A sudden lassitude overtakes the King, his mind goes from the horizontal to the Negative vertical.
"Anyway, the deer look at me with eyes like Shakuntala's."
The horizontal is abolished through true love.
The deer and Shakuntala both look at the King:
one is horizontal, the other vertical.
He cannot kill them, they turn their heads to look at him in the same way as Shakuntala: vertically, fear becomes love.
Buffaloes etc: there are three animals mentioned.
Let them come into the natural order.
The bowstring is loosened and becomes vertical.

STRUCTURE SLC8 - P66E

Unstring the bow and it becomes vertical.
The hermits have fire: this is a laser ray.
There is a stone like a lens, which is pleasant to touch,
but which can burn when exposed to the sun's rays.
Thus, the ashram is quiet, but do not think there is no fire there.
If the horizontal fire falls on it, it will vomit vertical death rays.
This is a reference to Tapas.

P67

"Son of a slave-girl" means "born out of necessity".

"I am not able to bend this strung bow, with the arrow fixed upon it,
against the fawns, who, abiding with my darling, have taught her those beautiful glances. When I think of Kanva's daughter, I have little relish for hunting, for...."

Horizontal deer are looking back at the arrows in the opening scene.
Vertical Shakuntala is looking back at the King.

The King and Vidusaka are sitting on a slab - the stage has been cleared.
Spirituality succeeds by a logarithmic spiral.

STRUCTURE SLC8 - P67A

The creeper means Shakuntala.
The King has a positive and a negative side.
The Vidusaka has only an actual positive side - chocolates.
The Vidusaka tries to obstruct the King with conventional arguments.
Conventional men always obstruct true love.
The King: "I am talking about Shakuntala: speak as directly as possible - no phoney rhetoric."
Sun Plant: two plants are compared, one is more hypostatic.
Date - Tamarind: the comparison is like that between an insipid Parsi woman and an earthy Marathi coolie girl.
The Drawing: at first it is mathematical, then the outline is filled in by the creator.("A scheme in the mind of the creator")

STRUCTURE SLC8 - P67b

1. Make an outline sketch -NUMERATOR
2. Give it content -DENOMINATOR
This is in keeping with the Upanishadic version of creation.

The beauty of Shakuntala is described negatively in a classical verse:
"a flower unsmelt, in itself, by and through itself" - before duality.
This is Absolute Beauty, by definition.
Shakuntala's eyes and smile: this is a paradox:
the smiles are for another reason than love: i.e. she is hiding love.
"Caught": the grass is the arrow - from below.
The numerator side dress is also entangled (suppose);
She is seeking imaginary reasons for staying.

P67

STRUCTURE SLC8 - P67C

The obstruction of the garment is a false pretext for turning.
The King is the centre of attraction.
Here the garment is an excuse for not going away.

The hermits give a sixth part of piety: there are no taxes for them: they meditate.
They are a vertical value for the Kingdom, surplus value.
Enter the hermit boys: they pay compliments to the king as having a very high Numerator Value.
He is austere in that his treasures are for the General Good.
The King is compared to a Muni (sage), and says that they are both the same: this is Advaita.
The King controls his subjects - the Muni controls his senses.
Structurally they are the same: this is Advaita.
If they are placed in their proper perspectives, they are the same.

ADDHYA KRANTA VASATIRAMUNAPYASRAME SARVABHOGYE
RAKSHAYOGADAYAMAPI TAPA PRATYAHAM SANCHINOTI
ADYAPI DYAM SPRISATI VASIANASCHARANADVANDVA GITA
PUNYAHA SABDO MUNIRITI MUHUH KEVALAM RAJAPURVAHA

The Kingdom is also self-sufficient - like an ashram.
This is a horizontal forest - the ashram is a vertical forest.
All values are found within this magic circle.
Because he cares for the subjects, he is doing Tapas (practising renunciation) every day.
"Even today, two birds sing his praises in heaven, because he holds everything in his control".
He is the master of himself and thus he the same function structurally as a Muni.
The apparent difference between contemplation and politics is abolished.

P68

Up to this point there are three references to the bodice hurting.
They must be located schematically :

Shakuntala is verticalized in the tree - the tree is a vertical axis.
Anasuya is next.
Priyamvada is the most conventional.

The King has loosened the bowstring - that is, he has verticalized.
He interprets what she does with reference to himself;
he wants to establish an equation between the Self and the non-Self.
Shakuntala is leaving: the tree and the thorn are imaginary.

The Hermits: "O, joy...."
The King represents the complementary counterpart of the hermits:
this is imaginary benefit in the vertical axis.
It is a great event: all the great numerator values belong to the King, they are complementary.
The poor Denominator cancels out against the rich Numerator.
(give the superintendent of police a chair in the ashram)
"Render unto Caesar that which is Caesar's..."
Here are two economic worlds existing without conflict

STRUCTURE SLC8 - P68

The surplus value of Munis (sages) is their Tapas (penance), one sixth of it goes to the King

The surplus value of the king goes to the Omega point with the birds.
One sixth is the surplus value; the glory of a king's crown is a compliment to the servant.
A sum of money from the welfare state is another matter - horizontal and ordinary.

The praise of the King: (see previous page)
The general good and the good of all are secured: they are open to everyone.
The King and the people both use an umbrella: this is qualitative equality.
He is looking at the people quantitatively and qualitatively.
He is living from day to day, serving the vertical axis.
Penance is the surplus value.
So there is mutual admiration between two economic systems: abundancist and opulencist.
The King is free of passion, though vertically in love with Shakuntala.
The first hermit is qualitative, the second hermit is quantitative; but they agree.
The second is talking about geography and battles; the kingdom girded by the ocean.
This is a circle, a peripheral limit, while the first refers to the vertical axis.
This is a horizontal circle protecting the frontiers: - boundaries are important.
Indra's thunderbolt is vertical.

P69

The King rises when the hermits enter, he says:
"What is your command? I am the servant of the Ashram"
The descendants of Puru (i.e. kings) are officiating priests for the distressed.
The same function - sacrifice to the Absolute - is performed both by the King and by the hermits.

At the end of the act: there is a barrier, revealed by Kalidasa,
but the verticality of the King and Shakuntala is so absolute that all other arguments fall away.

"Both speak": this means that there is perfect parity between them.
They will fly up in a spiral to the top of a dome where the two birds are praising the vertical axis.
In another verse, the eyes and ears of Shakuntala also have this parity;
WHEN A MAN IN LOVE SEES A WOMAN, WHAT HE REALLY SEES IS HIS OWN SELF.