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Kamasutrum Pseudotranslatorium

DILIP RAJEEV


Copyright Š 2015 Dilip Rajeev All rights reserved. ISBN: 1514724049 ISBN-13: 978-1514724040


To Enabling A World for Myself, That Allows The Greatest Freedom For My Human Growth


On the Pseudotranslation The Kamasutra is a treatise on how the axis of reality acts, bonding to the world. In other words, of how the Creator projects himself into the world. Each symbol of a sutra-treatise ought to be understood as the projected intent of the Creator himself. The rhythm, the movement, and the form are captured in symbols. Presented in this volume is a pseduotranslation, which attempts to throw a few rays of light into that which is encoded in the symbols. This, more than a translation, is an attempt at encouraging deeper exploration of the original text itself. And of urging the reader to go beyond the text, distorted as the texts were, as they got handed down through history, and explore the science penetrating directly into reality. The instrument of study being the human frame, and the brain, bonded to the SOURCE, and the internal worlds which reflect the order of the external worlds.

And, to provoke deeper exploration of the ideas and sciences of the ancients, in general. Further, the work is by no means meant 7


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to be a practical sexual or love manual. Nor, does the author himself view all information presented by him as accurate and is aware at many portions he may well be wrong in his understanding. That is the nature of exploration in any field – we often are forced to proceed through error, into finding order. And for a disclaimer, the author bears no responsibility in the event of anyone attempting literal imitation of the ideas in the text. The scholarly world’s tendency to pretend to know what they don’t, have given us a few many confident translations. The author is of the opinion that these purported accurate translations which differ in so much as the very idea behind chapter titles themselves, are at least as false as, if not a whole lot more so than, the present work. The very least, given the often drastic differences in the translated material, not all of them can together plausibly be authentic.

The translations seem to follow often in the path of the first one done to English, which is attributed to the famous orientalist and author, Sir Richard Francis Burton. It has been noted that the chief work with the translation was done by the Indian archaeologist, Bhagwanlal Indraji, under the guidance of Burton's friend, the 8


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Indian civil servant Forster Fitzgerald Arbuthnot, and with the assistance of a student, Shivaram Parshuram Bhide. It defined the tone, the frame, the sense, etc., for the later translators. Words and phrases got into Sanskrit-English dictionaries, from the initial translations. The senses of the sutras are terse, and obviously not mundane. The nature of sutras were understood by the ancients to be thus. And often sutras are of no mundane language at all, but may only be understood by deeper analysis, deeper spiritual contemplation. The mundane language are ideas of mundane life. The sciences of the ancients sought to bond with the supernormal, the higher, the beyond mundane existence.

The Sutras themselves may have been distorted, in ‘corrections,’ done by scholars over the centuries, and in preparing the editions in circulation now, later commentaries were drawn upon by pundits in attempting to rectify portions they couldn’t understand. Thus, now, though the sutras may offer hints, spark insights, the only way to penetrate the original science would be to directly explore reality, the nature of thought and the form of 9


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the Creating Principle. As Goethe says, “Man sieht nur, was man weiß.” Man sees only but what he already understands. And in a text such as this, it is true to a greater degree. And the idea that the treatise is about sexuality primes perception, apparently, into seeing things that are quite clearly not there. There is no other obvious way to explain many of the present ‘translations.’ One simply cannot translate into mundane ideas of sexuality, what to begin with is not that.

To read, thus, we must together with glancing through the text, attempt to perceive further. Know further, as we study, as we read. Penetrate, through the symbols, into deeper reality.

Below is phrase 14, from Chapter 5, attributed a peseudotranslation by the author,

् िबद्धम ् ु १.५.१२ निर:अत्ययं वास्या गमिम अर्ाा . ् अहं च ् ् ् िोपायेि नििः:सारत्वात क्षीण-वृ त्त्य-उपायिः. सो ऽहम अिे ् ् अ:कृ च्छ्राद ् अनधगनमष्यानम. तद ्-धिम अनतमहद 10


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1.5.12 nir:atyayaṃ vāsyā gamanam arthānubaddham. ahaṃ ca niḥ:sāratvāt kṣīṇa-vṛtty-upāyaḥ. so 'ham anenopāyena taddhanam atimahad a:kṛcchrād adhigamiṣyāmi. The dissolutionary fire-water in fast exceeding enveloping movement, of dualistic nature, which manifests in the symmetry of human form, is bond with meaning, or artha, the nature of the universal artha principle, the artha principle drives the expansion. This meaning might be manifest IN THE GENETIC NEURAL PROGRAMS. IF THE PROGRAM IS THE PRIMORDIAL PROGRAM, WE EVOLVE THE PRIMORDIAL MAN. The breath transmudato self is, with Ni fountain's meaning essence, as the decaying reducing fountain to the urn set in circular movement around the axis- of such potential transformatory measures expanding in breath. In the so and 'ham patterns - so is the vase-breath circulatory uptake, which is the transmutando moving upward and ‘ham its expanding circulatory merging into the system with its rooting is on the axis - through myriad neural means and that generated wealth extremely great natured, the transmutado cutting through the mud attaining neural dissolution back to the axis. - Dilip Rajeev, Kamasutrum Pseudotranslatorium, Verse 1.5.12 The translation of the same phrase as above, by the American 11


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Indologist and scholar of Sanskrit, Wendy Doniger, and Sudhir Kakar, an Indian psychoanalyst and senior fellow at Center for Study of World Religions at Harvard University, published by Oxford University Press in 2002, as part of the Oxford World’s Classics series, says:

Or, ‘There is no great danger involved in my having this women, and there is a chance of wealth. And since I am useless, I have exhausted all means of making a living. Such as I am, I will get a lot of money this way, with very little trouble.’

- Doniger & Kakar, Kamasutra, Verse 1.5.12 I would argue the above is not translation we can arrive at with any dictionary, or following any thread of logic. But is psychological projection of postnatal modern notions of sexuality into a text they, the translators, can’t, to be honest, read. But scholars must know. Scholars must pretend to know to make a living. And must translate what they can’t read, even if that makes them feel useless. For they exhaust their means of living, if they don’t. And putting forward anything to the rest of the world, which is anyway illiterate in these matters, they will get a lot of money, with very little trouble. 12


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The chapter itself, the fifth of BOOK 1, titled by Vyatsyayana, िायक-सहाय-दूत-कमा-नवमर्ा, nāyaka-sahāya-dūta-karma-vimarśa, is given the title in the Oxford University Press published translation, “Reasons for taking another man’s wife.” It yet is not apparent for us lay folks - by which dictionary, or what reason. And I am sure, asked, they can’t offer an explanation. Nāyaka has the sense, a hero, guide, in Sanskrit and other Indian languages, sahāya, has the sense help, dūta of projected message, karma has the sense action, and vimarśa of retrograde movement. Scholars speak of difficulties in translating, but few have been honest enough to admit their inability to read the ancient texts.

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१ साधारणं िाम प्रर्ममनधकरणम ् 1 sādhāraṇaṃ nāma prathamamadhikaraṇam The initial book, named Sādhāraṇaṃ. The perception of the whole-science is in the Initial, whole-natured fountaining from the urn. The Generalities of the Science.

१ अर् र्ास्त्रसंग्रहिः प्रर्मोऽ्ायिः 1 atha śāstrasaṃgrahaḥ prathamo'dhyāyaḥ This the science’s distillum. The first section. The initially manifest unfolding potentialities.

प्रकरण १ prakaraṇa 1 The first generative section.

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साधारणं 1."Sādhāraṇam" The sound being the structuring of the real. So ideophonetically, at a realm of perception, we may say the sense is - The fountain refining, in fire, through defining chambers, generating in an urn, the essence as the seminal seed. This would be analogous to the refining of the Soma for the Gods described/prescribed in the Rk Vedic secret rituals.

र्ास्त्रसंग्रहिः 1.1 śāstra^saṃgrahaḥ The fountain axis orders things. Through perception of movement on the axis is the science comprehended. Reducing it to the primordial seed blob formed in bonding, and the circulatory upward movement as vapors upward 15


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१११ धमाार् ाकामेभ्यो िमिः 1.1.1/.dharma^artha^kāmebhyo namaḥ// Be in bonded perception of the chymycal breath, transforming through the distilling chambers, breaking phallicaly through the manifest axis, evolving out fire-like, through dual bonded evolution. In the Dharma, in a sense perhaps the defining generated by the projected intent of the Creator. The Artha, the will, the meaning generator breaking through, Kama, the bonding forces, to these aspects is the neural body conformant to.

् ११२ र्ास्त्रे प्रकृ तत्वात((१)) 1.1.2/.śāstre prakṛtatvāt// Perceive that which along the fountain axis, from primal potentialities, in conformance to the primal breath structures. The primordial science, the science of primordial structuring is this.

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११३ तत्समयावबोधके भ्यश्च आचायेभ्यिः इनत 1.1.3/.tat^samaya^avabodhakebhyaś ca^ācāryebhyaḥ// Along the fountain axis, spread out in manifest time, in dualized patterns of the breath, acting on the primal matter – know that which thus is. The electric fountaining, the neural fountain is conformant to the layered axial guiding.

११४ तत्संबन्धानतनत 1.1.4/.tat^saṃbandhāt//(p.3) Perceive the bonding in the thus structured.

११५ प्रजापनतनहि प्रजािः सृष्ट्वा तासां निनतनिबन्धिं निवगास्य साधिम्ायािां र्तसहस्रेणाग्रे प्रोवाच 1.1.5/.prajāpatir hi prajāḥ sṛṣṭvā tāṣāṃ sthiti^nibandhanaṃ trivargasya sādhanam adhyāyānāṃ śatasahasreṇa^agre 17


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provāca//(p.3) From the Originator bonded to the manifest subject, the Creation’s structuring – bonded by the water principle, through defining chambers – by tradic nature refined, myriad ended patterns, in the breath emerge.

ु धमाानधकानरकं ११६ तस्य ैकदेनर्कं मििःु स्वायंभवो पृर्क्चकार 1.1.6/.tasya^ekadeśikaṃ manuḥ svāyaṃbhuvo dharma^adhikārikaṃ pṛthak cakāra//(p.4) From that whole, structured fountain-blobs emerging, the primal desire’s dissolvatory breath, transmutes and refines out patterns – the dharma’s defining forms, in potentialities structured out. The principle’s defining is what emerges – the principle being contained in the breath. And those 18


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patterns ordered by the Primal Breath is the manifest dharma. The neural man in his perceptive system reflects the order. The self generated man’s ordering reflects in the neural system. The projected will, and its forming.

११७ बृहस्पनतरर्ाानधकानरकम ् 1.1.7/.bṛhaspatir artha^adhikārikam//(p.4) The potentialities of the breath moving forward up the fountain are the defining patterns of artha.

ु ११८ महादेवािचरश्च िन्दी सहस्रेणा्ायािां पृर्क्कामसूि ं प्रोवाच 1.1.8/.mahādeva^anucaraś ca nandī sahasreṇa^adhyāyānāṃ pṛthak kāmasūtraṃ provāca//(p.4) 19


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The Great Primordial Breath’s, dissolutioning into the seed, and generating again from the primordial blob – the myriad expression in that is the Kamasutra expressed in the word.

११९ तदेव त ु पञ्चनभर्ायर्त ैरौद्दानिनकिः श्वेतके तिःु संनचक्षेप 1.1.9/.tad eva tu pañcabhir adhyāyaśatair auddālakiḥ śvetaketuḥ saṃcikṣepa//(p.4) The trannsmutando draught refines in patterns of the word – in a five fold volume is that substance alchemically distilled.

् िा्ायर्तेि ु १११० तदेव त ु पिर् :अधे ु क[४] [१]साधारण[२]सांप्रयोनगक[३]कन्यासंप्रयक्त भायाानधकानरक[५]पारदानरक[६]वैनर्क[७]औपनिष 20


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नदकै िः सप्तनभरनधकरण ैबााभ्रव्यिः पाञ्चाििः संनचक्षेप 1.1.10 tad eva tu punar adhyardhena^adhyāyaśatena sādhāraṇa^sāṃprayogika^kanyā^saṃprayuktaka^bhāryā^ adhikārika^pāradārika^vaiśi ka^aupaniṣadikaḥ saptabhir adhikaraṇair bābhravyaḥ pāñcālaḥ saṃcikṣepa// That in further renewed refinement along the same lines – in New Creation, in generative volumes, of the serpentine hundred nature. Refining to the seed, Serpentine union of matter back to the whole, the virginal water principle’s transformation along the fountain axis, One’s directly connected Serpentine Half, Expansion of Patterns, Union of all in the word, Alchemical Refinement to the Source – In such a seven fold refinement, the dualizing force, situated five fold on the waters, separated.

ु ११११ तस्य षष्टं वैनर्कमनधकरणं पाटनिपिकाणां गनणकािां नियोगाद्दत्तकिः पृर्क्चकार 21


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1.1.11/.tasya ṣaṣṭhaṃ vaiśikam adhikaraṇaṃ pāṭaliputrikāṇāṃ gaṇikānāṃ niyogād dattakaḥ pṛthak cakāra// The Vaisikam, or dissolutioning in a vase, and by primal phallicities returning it to the source, is governed in its evolution by the numeral structuring, of the primordially structuring city blob – by strongly defining dattakah patterns are these in potentialities separated and structured.

१११२ तत्प्रसङ्गाच्चारायणिः साधारणमनधकरणं ु िाभिः सांप्रयोनगकं घोटकमखिः ु प्रोवाच सवणा ु कन्यासंप्रयक्तकं गोिदीयो भायाानधकानरकं ु औपनिषनदकनमनत ु पारदानरकं कुचमार गोनणकापििः 1.1.12/.tat^prasaṅgāc cārāyaṇaḥ sādhāraṇam adhikaraṇaṃ pṛthak provāca/ suvarṇanābhaḥ sāṃprayogikam/ 22


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ghoṭakamukhaḥ kanyā^saṃprayuktakam/ gonardīyo bhāryā^adhikārikam/ goṇikāputraḥ pāradārikam/ kucumāra aupaniṣadikam iti/ Thus evolving from the ground matter, from Caranya proceeded sadharanam, from Suvarnah proceeded Serpentine Union to the Whole, Ghotakamukhah on the Virginal Water Principle’s Transformation, Gonardiya on One’s Serpentine Half, Gonikaputra on the Spread of Patterns, Kucumara on alchemical refinement on the axis.

१११३ एवं बहुनभराचायैस्तच्छास्त्रं खण्डर्िः ु प्रणीतमत्सन्नकल्पमभू त् 1.1.13/.evaṃ bahubhir ācāryais tacchāstraṃ khaṇḍaśaḥ praṇītam utsannakalpam abhūt/ Thus in multitudinous transmutando darts expanded out, and separated from the life source, spreading into infinity the principle unmanifests.

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१११४ ति दत्तकानदनभिः प्रणीतािां र्ास्त्रावयवािामेकदेर्त्वात्महनदनत च बाभ्रवीयस्य ् दुर:आ्े यत्वात्संनक्षप्य सवामर् ामल्पेि ग्रन्थेि कामसूिनमदं प्रणीतम ् 1.1.14/.tatra dattaka^ādibhiḥ praṇītānāṃ śāstra^avayavānām ekadeśatvāt, mahad iti ca bābhravīyasya duradhyeyatvāt, saṃkṣipya sarvam artham alpena granthena kāmasūtram idaṃ praṇītam//(p.6) Thus transformed by Dattaka and folks from the primal life, were but limbs of the science’s whole essence, the greatness structured by Babhravya was separated too far from the primal essence, refining the whole in shortened meaning the work of Kamasutra is brought to being.

१११५ तस्यायं प्रकरणानधकरणसमद्देु र्िः 1.1.15/.tasya^ayaṃ prakaraṇa^adhikaraṇa^samuddeśaḥ 24


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Thus spread out blob, in the productive heads are summarized. Or, through these heads the primal blob refined out, produces the science.

१११६ र्ास्त्रसंग्रहिः निवगाप्रनतपनत्तिः नवद्यासमद्देु र्िः िागरकवृत्त ं िायकसहायदूतीकमानवमर्ािः इनत साधारणं प्रर्मानधकरणम्ायिः पञ्च प्रकरणानि पञ्च 1.1.16/.śāstra^saṃgrahaḥ/ trivarga^pratipattiḥ/ vidyā^samuddeśaḥ/ nāgarika^vṛttam/ nāyaka^sahāya^dūtīkarma^vimarśaḥ/ iti sādhāraṇaṃ prathamam adhikaraṇam/ adhyāyāḥ pañca/ prakaraṇāni pañca/ The Summary of The Science –its Bonded Matter Essence, Its Unfoldment Into Three, The Essence And Patters Of Transformation From The Vase, The Field of Activity, The Hero’s Sustaining Patterns Which Return The Manifest To 25


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The Origin, These are the Primal Structuring Of The Science’s Essence, In Five Fold Structuring, In Five Fold Generatives.

१११७ प्रमाणकािाभावेभ्यो रताविापिं प्रीनतनवर्ेषािः आनिङ्गिनवचारािः ु चम्बिनवकल्पािःिखरदिजातयिः दर्िच्छेद्यनवधयिः े िप्रकारािः नचिरतानि देश्या उपचारािः संवर् ु ु प्रहणयोगिः तद्यक्ताश्च सीत्कृ तोपक्रमािः परुषानयतं ु परुषोपसृ प्तानि औपनरष्टकं रतारम्भावसानिकं रतनवर्ेषािः प्रणयकिहिः इनत सांप्रयोनगकं नितीयमनधकरणम्या दर् प्रकरणानि सप्तदर् 1.1.17/.pramāṇa^kāla^bhāvebhyo rata^avasthāpanam/ prīti^viśeṣāḥ/ āliṅgana^vicārāḥ/ cumbana^vikalpāḥ/ 26


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nakha^radana^jātayaḥ/ daśana^cchedya^vidhayaḥ/ deśyā upacārāḥ/ saṃveśana^prakārāḥ/ citra^ratāni/ prahaṇana^yogāḥ/ tadyuktāś ca sītkṛta^upakramāḥ/ puruṣāyitam/ puruṣopasṛptāni/ aupariṣṭakam/ rata^ārambha^avasānikam/ rata^viśeṣāḥ/ praṇayakalahaḥ/ iti sāṃprayogikaṃ dvitīyam adhikaraṇam/ adhyāyā daśa/ prakaraṇāni saptadaśa/ The initial time’s form generation from water happening as a result of the joy-fountain’s establishment, The description of how pleasure acts and forms of pleasure – how potentialities drive along the fountain, How the joy fountain established in Union by the Phallic Union In Water In Patterns of the Word Bonds and Structuring Breathes, The Manifold Merging Patterns, The Dissolutioned In Joy Chambers Revived, The Grinding and Transformation in Defining Transformatory Chambers, Bonding Patterns Being Subordinate To Regions, Ways The Seed is Transformed , The Generation of JoyForms, The Potentialities that forcefully bond with the word, 27


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Patterns in which the Drawing Happens therefrom – Forms of the Sit sound, Weapons of the Primordial Principle, Serpentine Emergence of Joy In the Primordial Principle, Alchemical Potentialities, Beginning From Source and Dissolution Back To Source of a Joy Fountain, Mutual Collisions as the Joy Fount Evolves From The Seed, – Structured thus are patterns of evolution from the Serpentine Union Blob – The Dualistic Natured Defining, Of 10 Fold Structure, As Ten and Seven Merged Generating.

१११८ वरणनवधािं सम्बन्धनिणायिः कन्यानवस्रम्भणं बािायािः उपक्रमािः ु इनङ्गताकारसूचिमेकपरुषानभयोगिः प्रयोज्यस्योपावताणमनभयोगतश्च कन्यायािः ु प्रनतपनत्तिः नववाहयोगिः इनत कन्यासंप्रयक्तकं 28


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तृतीयानधकरणम्ायािः पञ्च प्रकरणानि िव 1.1.18/.varaṇa^vidhānam/ saṃbandha^nirṇayaḥ/ kanyā^visrambhaṇam/ *bālāyā[ch:bālāyāḥ] upakramāḥ/ iṅgita^ākāra^sūcanam/ eka^puruṣa^abhiyogaḥ/ prayojyasya^upāvartanam/ abhiyogataś ca kanyāyāḥ pratipattiḥ/ vivāha^yogaḥ/ iti kanyā^saṃprayuktakaṃ tṛtīyam adhikaraṇam/ adhyāyāḥ pañca/ prakaraṇāni nava/(p.7) The Ways of Drawing, Determining of Bonding Patterns, Virginal Water Principle Made Still Conformant To The Vase, Patterns of initial emergence from the Waters, Suggestions of Forms and Gestures – forms of the water draught, Effort To Bond It With the Primordial Man, Whirling Around of Primal Patterns Employed, The Winning Over Of The Kanya By the Expended Efforts, The Merging In Life-Breath – In Such Pattern Is the Triadic Natured Bonding With the Virginal Waters, Fivefold Structured, In Ninefold Generative. 29


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१११९ एकचानरणीवृत्त ं प्रवासचायाा सपत्नीष ु ु वा त्त ज्येष्ठावृत्त ं कनिष्ठावृत्त ं पिभू ृ ं ु परुषस्य ु दुभागावृत्तमान्तिःपनरकं बह्वीष ु प्रनतपनत्तिः इनत भायाानधकानरकं चतर्ु ामनधकरणम्ायौ िौ प्रकरणान्यष्टौ 1.1.19/.eka^cāriṇī^vṛttam/ pravāsa^caryā/ sapatnīṣu jyeṣṭhā^vṛttam/ kaniṣṭhā^vṛttam/ punarbhū^vṛttam/ durbhagā^vṛttam/ *āntaḥpurikam[ch:antaḥpurikam]/ puruṣasya (p.8) bahvīṣu pratipattiḥ/ iti bhāryā^adhikārikaṃ caturtham adhikaraṇam/ adhyāyau dvau/ prakaraṇāny aṣṭau/(p.8) The Circle Where One As Whole Moves, Patterns Of Movement Separating – Penetrating The External, The Circle 30


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Where One Transforms To Excellence In Fire With Wife, The Circle Where One Phallically Structures The Water Principle, The Circle of Renewal, The Circle Of Intense Transformation – Death and Transformation, The Internal Chamber’s Potentialities, Restrain of The Manifold by the Man, These are the four natured defining of the Serpentine Half, In Two Sections, And 8 Generatives.

ु ११२० स्त्रीपरुषर्ीिाविापिं व्यावत्तािकारणानि ु स्त्रीष ु नसद्धािः परुषािः अ:यत्नसा्ा योनषतिः पनरचयकारणानि अनभयोगािः भावपरीक्षा ु दूतीकमाानण ईश्वरकानमतमन्तिःपनरकं दाररनक्षतकनमनत पारदानरकं पञ्चममनधकरणम्ायािः षट्प्रकरणानि दर्((२)) 31


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1.1.20/.strī^puruṣa^śīla^avasthāpanam/ vyāvartana^kāraṇāni/ strīṣu siddhāḥ puruṣāḥ/ ayatna^sādhyā yoṣitaḥ/ paricaya^kāraṇāni/ abhiyogāḥ/ bhāva^parīkṣā/ dūtī^karmāṇi/ īśvara^kāmitam/ āntaḥpurikaṃ dāra^rakṣitakam/ iti pāra^dārikaṃ pañcamam adhikaraṇam/ adhyāyāḥ ṣaṭ/ prakaraṇāni daśa/(p.8) Setting up the Male-Female transmutando fountain, That which putts the wheel in movement, Of the Man that sets up the fountain in the feminine, Possibilities of the unmanifesting will, That which bonds at the expanding boundaries, Unmanifesting Serpentine Bonding, Fire-Like Serpentine Expression of Forms, That which expedites formation of the distillum in the urn, Loving the Subtle, Protecting the Streams Within, thus are the Paradarikam Five Natured, Of Seven Section, In Ten Generatives. The sense of Para-darikam involves the idea of projection of waters

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११२१ गम्यनचन्ता गमिकारणानि उपावतािनवनधिः ु िमर्ाागमोपायािः नवरक्तनिङ्गानि कान्तािवता नवरक्तप्रनतपनत्तिः निष्कासिप्रकारािः नवर्ीणाप्रनतसंधािम्लाभनवर्ेषिः ु अर्ाािर्ाािबन्धसं र्यनवचारिः वेश्यानवर्ेषाश्च इनत वैनर्कं षष्टमनधकरणम्ायिः षट्प्रकरणानि िादर् 1.1.21/.gamya^cintā/ gamana^kāraṇāni/ upāvartana^vidhiḥ/ kānta^anuvartanam/ artha^āgama^upāyāḥ/ virakta^liṅgāni/ virakta^pratipattiḥ/ niṣkāsana^prakārāḥ/ viśīrṇa^pratisaṃdhānam/ lābha^viśeṣaḥ/ artha^anartha^anubandha^saṃśaya^vicāraḥ/ veśyā^viśeṣāś ca/ iti vaiśikaṃ ṣaṣṭham adhikaraṇam/ adhyāyāḥ ṣaṭ/ prakaraṇāni dvādaśa/(p.8) Movement as that which transforms from the base along the 33


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Tau fountain, The causation of movement, The nature of unfoldment and expansion, Obliging in Expansion to The Beauteous, Methods of Driving Forward The Expansion – Artha, Unpassionate Phallicity, Unpassionate control of patterns, Forms of Unpassionate Expression, Harmonizing The Separated In Primal Potentialities, Fountain’s Expression As Rooted In the Water Vase, The Bonding And Relation of Manifesting And Unmanifesting Principles Of The Fountain – The Driving And The Drawing Fountain Principles situated on The Vase, Explanation of the Expression From The Vase, the is the Six Natured Section Vaisikam – Of Bonding, Structuring in The Vase, Seven Chaptered, Of Ten and Two Generative.

ु करणं वर्ीकरणं वृष्याश्च योगािः ११२२ सभगं िष्टरागप्रत्याियिं वृनद्धनवधयिः नचिाश्च योगािः इत्यौपनिषनदकं सप्तममनधकरणम्ायौ िौ 34


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प्रकरणानि षट ् 1.1.22/.subhagaṃ^karaṇam/ vaśīkaraṇam/ vṛṣyāś ca yogāḥ/ naṣṭa^rāga^pratyānayanam/ vṛddhi^vidhayaḥ/ citrāś ca yogāḥ/ ity aupaniṣadikaṃ saptamam adhikaraṇam/ adhyāyau dvau/ prakaraṇāni ṣaṭ/ (p.8) The sweeter alchemical draught set in movement, from the vase formed in bonding and the distillation urn; The method of dualistic tree-like extension and unmanifestation by breath to the source, The unmanifesting music of dissolutionary beats that form the driving, Through the method of drawing-extension, Union through Joy-Picture Patterns generated from the vase – these are the Seven Natured chapters on Alchemy, Two Chaptered, Of Six Generative.

११२३ एवं षनरंर्द्ायािः चतिःु र्नष्टिः 35


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प्रकरणानि((३)) अनधकरणानि सप्त सपृष्ठआदं श्लोकसहस्रनमनत र्ास्त्रस्य संग्रहिः 1.1.23/.evaṃ ṣaṭtriṃśad adhyāyāḥ/ catuḥṣaṣṭiḥ prakaraṇāni/ adhikaraṇāni sapta/ sapādaṃ ślokasahasram/ iti śāstrasya saṃgrahaḥ//(p.8) The whole bonded has 36 sections, 64 generatives, 7 defining, one-fourth and a thousand slokas, thus is the science distilled.

ु ११२४ संक्षपे नमममक्त्वास्य नवस्तारोऽतिः प्रवक्ष्यते इष्टं नह नवदुषां िोके समासव्यासभाषणम ् 1.1.24a/.saṃkṣepam imam uktvā^asya vistaro +ataḥ pravakṣyate/(p.9) Having expressed the distilled, we progress to a spread out expression of that.

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इष्टं नह नवदुषां िोके समासव्यासभाषणम ् 1.1.24b/.iṣṭaṃ hi viduṣāṃ loke samāsa^vyāsa^bhāṣaṇam//(p.9) The Love of the Wise being distilling and expanding expression as language.

११ इनत श्रीवात्स्यायिीये कामसूि े साधारणे प्रर्मेऽनधकरणे र्ास्त्रसंग्रहिः प्रहमोऽ्ायिः This is the first chapter of the Sadharana section. The form of initial or whole expression of the Sadharana patterns fountaining of the Vase.

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२ अर् निवगाप्रनतपनत्तिामको नितीयोऽ्ायिः ु (प्रकरण) २ अ) अिष्ठाि निवगा-प्रनतपनत्त 1.2.(2) trivargapratipattiḥ The Unfoldment Into Three. The patterns in which the triadic expansion occurs.

ु ु नवभज्य कािमन्योन्यािबद्धं १२१ र्तायवु ै परुषो ु परस्परस्यािपघातकं निवगं सेवते 38


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1.2.1/.śata^āyur vai puruṣo vibhajya kālam anyonya^anubaddhaṃ parasparasya^anupaghātakaṃ trivargaṃ seveta//(p.10) The transmutando generated man’s existence is hundredtransmutando natured, divided in the transmutando-time, yet bonded mutually at the origin with mutually driving potentialities of fire-water, triadically serving.

१२२ बाल्ये नवद्याग्रहणादीिर्ााि ् 1.2.2/.bālye vidyā^grahaṇa^ādīn arthān//(p.10) The initial evolution, dualizing, proceeds from the vase into the refining chambers in cyclic breath movement penetrating ground materia, carrying the urn substance driventransformed by fire. This is the nature-meaning of the initial movement.

१.२.३ कामं च यौवि े. 39


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1.2.3/.kāmaṃ ca yauvane//(p.11) Then occurs the bonding between the duals patterns thus generated.

१.२.४ िानवरे धमं मोक्षं च. 1.2.4/.sthāvire dharmaṃ mokṣaṃ ca//(p.11) The established pattern is the Dharmam, bonding to the Source.

१.२.५ अ:नित्यत्वाद ् आयषु ो यर्ोपपादं वा सेवते . 1.2.5/.anityatvād āyuṣo yathā^upapādaṃ vā seveta//(p.11) The life, dissolutioning in breath, thus subservient to the word it serves.

् नवद्या-ग्रहणात. ् ब)् ् त्व आ १.२.६ ब्रह्मचयाम एव अवबोधिः 40


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1.2.6/.brahmacaryam eva tv ā vidyā^grahaṇāt//(p.11) As one with the primal breath at the mud vase, are patterns initial of knowledge perceived, in movements fire-like, transforming the ground materia. The Creation hierarchies manifesting knowledge drives the transmutando, as it projects into the vase, and transforms earth material, it is knowledge-perception.

१.२.७ अ:िौनककत्वाद ् अ:दृष्टार् ात्वाद ् अ:प्रवृत्तािां ् िम िौनक[क]त्वाद ् ् अज्ञादीिां र्ास्त्रात प्रवता ् प्रवृत्तभ्य ् मांस-भक्षणानदभ्यिः े र् च दृष्टार् ात्वाच च र्ास्त्राद ् एव निवारणं धमािः. 1.2.7/.alaukikatvād adṛṣṭa^arthatvād apravṛttānāṃ yajñā^ādīnāṃ śāstrāt pravartanam, *laukikatvād[ch:laukitvād] dṛṣṭa^arthatvāc ca pravṛttebhyaś ca māṃsa^bhakṣaṇa^ādibhyaḥ śāstrād eva nivāraṇaṃ 41


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dharmaḥ//(p.12) As unmanifesting from the world, in invisible meaninggenerators, in unmanifest potentialities extended out as the fire-sacrifice which is the origin of the science-perceptionfount’s functioning in the manifest. The visible meaning generators and the manifest word potentialities function dualizing the manifest breath, consuming the manifest flesh of reality. Through this science of the primal-dualizing alone is dharma comprehended in breath’s dissolutioning patterns from the urn.

् प्रनतपद्येत. १.२.८ तं श्रतु रे ्धमाज्ञ-समवायाच च 1.2.8/.taṃ śruter dharmajña^samavāyāc ca pratipadyeta//(p.12) Listening to the bonded breath on the fountain as the pouring in alignment with the Dharma, the serpentine-fire bonded evolution in alignment with the breath-word, 42


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extending out patterns from the mud-vase. In perception of the structure, balanced. In listening to the beats of the internal fountain, projected by the CREATOR, in balanced bonded perception thereof, of movements reflecting it.

१.२.९ नवद्या-भूनम-नहरण्य-पर्-ु धान्य् िम अनजा ् भाण्डोपस्कर-नमिादीिाम अजा तस्य ् ािः. नववध ािम अर् 1.2.9/.vidyā^bhūmi^hiraṇya^paśu^dhānya^bhāṇḍa^upask ara^mitra^ādīnām arjanam arjitasya vivardhanam arthaḥ//(p.12) The transformation of earth by the vase to gold, the vase of the cow-seed transmutando matter-bag, as the vesselinstrument of chemical transformation, which with a noble partner is instrumented in intensification-expansion of those 43


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meaning patterns in refined emergence and expansion perceived.

् ् वाताा-समय-नवद्भ्यो १.२.१० तम अ्क्ष-प्रचाराद ् नत. वनणग्भ्यर् चे 1.2.10/.tam adhyakṣa^pracārād vārtā^samayavidbhyo vaṇigbhyaś ca^iti//(p.13) The sound governs the breath’s spreading, in time patterns manifesting through the exchange of distillum matter, movements being as if from earth along the fount. The exchange between layers occurs in beats of time.

् ् ् .२.११ श्रोि-त्वक-चक्स रु -नजह्वा-घ्राणािाम आत्मु े ि मिसानधनष्ठतािां स्वेष ु स्वेष ु नवषयेष्व ् संयक्त 44


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आिकूु ल्यतिः प्रवृनत्तिः कामिः. 1.2.11/.srotra^tvak^cakṣur^jihvā^ghrāṇānām ātma^saṃyuktena manasā^adhiṣṭhitānāṃ sveṣu sveṣu viṣayeṣv ānukūlyataḥ pravṛttiḥ kāmaḥ//(p.13) The Hearing, The Touch-Feeling, The Seeing, The Enlivening-Tasting, The Smelling enjoined with the Perceiving Self – together form the mind on the basis of which each in conformance to its special nature and sphere of action, becomes a stream of Kama’s functioning. All these are aspects of the Creator’s perception and intent differentiated out – which an aspect playing a greater role in a perception, perhaps.

The b sound is birthing, for instance, generates the brain in the mud, as the Anthropos forms, it may be studies. The projected brain forms the Anthropos, the senses perceive aspects of formation. The child is the Anthropos in formation. The child studies his own formation. The student 45


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thus is the child, the balya, as an earlier phrase says. The internal circulation is the child. The form of the child, in the ancient writing system, Chinese, is ĺ­? , the cerebro spinal restrained in the axis, by the stabilizing ONE PRINCIPLE.

Ancient variants of this include,

Which suggests circulation from the pelvic vase, projection 46


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of the cerebral into the pelvic vase, circulation and circulatory rise on the axis, neuroanatomical transformations in perhaps what are the ganglionic chains or analogous other-dimensional structures, dualization of the updrawn fount at brain space, phallicity in either sides of the system, the cranial and sacral nerves, the parasympathetic, which put the system in a state of profounder renewal and relaxed transformation, etc., these nerves on the axis establishes by form and function an internal fire water flow, etc.

् ् अस्यानभमानिक१.२.१२ स्पर्ा-नवर्ेष-नवषयात त्व ् ा-प्रतीनतिः प्राधान्यात ् ु ु नवद्धा सखाि फिवत्य अर् कामिः. 1.2.12/.sparśa^viśeṣa^viṣayāt tv asya^abhimānika^sukha^anuviddhā phalavaty artha^pratītiḥ prādhānyāt kāmaḥ//(p.14) Touch’s special nature and sphere of action is itself in the nature of the self’s phallicity, self’s pleasure and it fruits. In 47


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the meaning patterns or perception in which Sparsa or touch unfolds, thus chiefly unfolds Kama.

Touch of the Creator bonds to the Creator, merges with the Creator. The joy fount generated through touch, in the world, merges the world to the Creator, merges the feminine to the Creator.

् ् १.२.१३ तं काम-सूिाि िागनरक-जि-समवायाच च प्रनतपद्येत. 1.2.13/.taṃ kāmasūtrān nāgarika^jana^samavāyāc ca pratipadyeta//(p.15) The sound moves in the city of kama-sutra perceivers - the regions of perceptive activity in the system, in alignment and oneness with the word-wind, animating-manifesting. The neural centers project form that PRIMORDIAL MOVEMENT OF THE CREATOR, reflecting it forming 48


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perception, action, the body.

१.२.१४ एषां समवाये पूविःा पूवो गरीयाि. ् 1.2.14/.eṣāṃ samavāye pūrvaḥ pūrvo garīyān//(p.15) The movement of the transmutando is such that it follows on in bonded equilibrium from the previous original, the original greater than the emergent.

् ित्वाि ् िोक् राज्ञिः. ति-मू १.२.१५ अर् ार् च ् इनत निवगायािायािः. वेश्यायार् च प्रनतपनत्तिः((४)). च)् संप्रनतपनत्तिः 1.2.15/.arthaś ca rājñaḥ/ tan^mūlatvāl lokayātrāyāḥ/ veśyāyāś ca^iti trivarga^pratipattiḥ//(p.15) Artha animating the primal substance is the King Principle 49


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returning substance to the source, he who is the foundational for the world’s animation, the vesya or courtesan aspect of reality is related to enabling this to triadically unfold and extend outward. In the sacral vase, the vesya patterns appear. Or, the term Vesya is a reference to the sacral vase itself.

् ्-अनभदायकं १.२.१६ धमास्या:िौनककत्वात तद ु म. ् उपाय-पूवक ा त्वाद ् अर् ा-नसद्धेिः. उपायर्ास्त्रं यक्त प्रनतपनत्तिः र्ास्त्रात. ् 1.2.16/.dharmasya^alaukikatvāt tadabhidhāyakaṃ śāstraṃ yuktam/ upāya^pūrvakatvād artha^siddheḥ/ upāya^pratipattiḥ śāstrāt//(p.16) Dharma is the unmanifest world’s expressed science in and of Union, through this pre-principle is Artha obtained and worked, and thus is worked the science of unfoldment on the axis. 50


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् ् १.२.१७ नतयाग-योनिष्व अनप त ु स्वयं प्रवृत्तत्वात ् ् ि र्ास्त्रेण कृ त्यम अस्तीत्य ् ् कामस्य नित्यत्वाच च आचायाािः. 1.2.17/.tiryag^yoniṣv api tu svayaṃ pravṛttatvāt kāmasya nityatvāc ca na śāstreṇa kṛtyam asti^ity ācāryāḥ//(p.16) As following along with the stream from the Yoni-fountainvase even thus is the Self Produced through the Love generated eternal word established in the dissolutioning science expressed by the Great Artist.

् ् ् ं ु योर उपायम १.२.१८ संप्रयोग-पराधीित्वात स्त्री-प स अपेक्षते. 51


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1.2.18/.saṃprayoga^parādhīnatvāt strīpuṃsayor upāyam apekṣate//(p.16) The Union force is entirely on the female-male way dependent.

१.२.१९ सा चोपाय-प्रनतपनत्तिः काम-सूिाद ् इनत वात्स्यायििः. 1.2.19/.sā ca^upāya^pratipattiḥ kāmasūtrād iti vātsyāyanaḥ//(p.17) Of utilizing the thus in fire is the Kamasutra this of Vatsyayana. The potentialities of the PRIMORDIAL principle is expanded out through this SCIENCE.

् ् तत्वात श्िी् ु पिर ु ्अि:आवृ १.२.२० नतयाग-योनिष ् ऋतौ यावद ् अर्ं प्रवृत्तरे ्अ:बनद्धु जातेर् च 52


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् प्रवृत्तीिाम अि ् ् :उपायिः ा त्वाच च पूवक प्रत्ययिः. 1.2.20/.tiryag^yoniṣu punar anāvṛtatvāt strījāteś ca, ṛtau yāvad arthaṃ pravṛtter abuddhi^pūrvakatvāc ca pravṛttīnām anupāyaḥ pratyayaḥ//(p.17) From the flow, from the yoni-vase, is the continually regenerating birth from the women, the joy-fountain’s chemical killing of base matter, and transforming to the greatest extend in alignment with artha, functioning unconsciously or by the unmanifest intellect driven by the primordial pre-creation word and thus working as one in the working method, with the patterns of primordial return.

The yoni and sacrum are anaologus, as is the phallic and the ceerebro-spinal.

् त. ् एष्यत-फित्वात ् १.२.२१ ि धमांर् चरे .् ् संर्नयकत्वाच च. 1.2.21/.na dharmāṃś caret/ eṣyat^phalatvāt, sāṃśayikatvāc 53


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ca//(p.18) Dissolving in the Dharma, the resultant fruits repose in blooming form as one in form with the word.

् १.२.२२ को ह्य अ:बानिर्ो हस्त-गतं पर-गतं कुयाात. ् 1.2.22/.ko hy abāliśo hastagataṃ paragataṃ kuryāt//(p.18) In transforming inane waters into the dual fount, the hand in transforming potentialities, as the creative-sound, moves.

् १.२.२३ वरम अद्य कपोतिः श्वो मयरू ात. ् 1.2.23/.varam adya kapotaḥ śvo mayūrāt//(p.19) The emergent blessing is initially like a pigeon and transforms in physical form into a peacock.

् ् अ:सांर्नयकिः १.२.२४ वरं सांर्नयकाि निष्काद 54


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काषाापणिः. इनत िौकायनतकािः.. 1.2.24/.varaṃ sāṃśayikān niṣkād asāṃśayikaḥ kārṣāpaṇaḥ/ iti *laukāyatikāḥ[ch:laukāyātikāḥ]//(p.19) The blessing, the matter in a whole-repose , discerns-distills into transformed from the Union-repose gold-distillate of cultivated Joy. Thus is the path THAT the materia of the world takes.

् ् १.२.२५ र्ास्त्रस्याि:अनभर्ङ्कत्वाद ् क्व नचत फि-दर्ा ् ु अनभचारािव्याहारयोर् च िाि ् ु िक्षि-चन्द्र- सूय-ा तारा-ग्रह-चक्रस्य िोकार्ं बनद्ध् प्रवृत्तरे ्दर्ािाद ् वणााश्रमाचार-निनता म इव पूवक ् िोकयािाया हस्त-गतस्य च िक्षणत्वाच च ् द् बीजस्य भनवष्यतिः सस्यार्े त्याग-दर्ािाच चरे 55


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् वात्स्यायििः. धमााि इनत 1.2.25/.śāstrasya^anabhiśaṅkyatvād abhicāra^anuvyāhārayoś ca kvacit phala^darśanān nakṣatra^candra^sūrya^tārā^graha^cakrasya loka^arthaṃ buddhi^pūrvakam iva pravṛtter darśanād varṇa^āśrama^ācāra^sthiti^lakṣaṇatvāc ca lokayātrāyā hastagatasya ca bījasya bhaviṣyataḥ sasya^arthe tyāga^darśanāc cared dharmān iti vātsyāyanaḥ//(p.19)

Of the Science of Structuring along the fount the dissolutioning and breath structured from the distillate, the setting into movement in alignment with the word, how its fruits are seen as the constellations, moon, sun, stars, planets – the whirling world – the causation of artha and buddhi these are seen as functioning. The colours of the hermitage in which the Artist abides expresses by form, the three world’s movement by the creative hand driven, and as the plant from the seed manifest, this meaning objectively 56


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perceived movement in accordance with dharma is that which is expressed by Vatsyayana. The hands are symbolic of the nerves entering the spine, often, in ancient symbolism.

् त. ् प्रयत्नतो ऽनप ह्य एते ् १.२.२६ िार्ांर् चरे ् ष्ठीयमािा ् िःु अि:अि ु ु ऽिष्ठीयमािा ि ैव कदा नचत स्य अनप यदृच्छया भवेयिःु . 1.2.26/.na^arthāṃś caret/ prayatnato +api hy ete +anuṣṭhīyamānā na^eva kadācit syuḥ// ananuṣṭhīyamānā api yadṛcchayā bhaveyuḥ//(p.21) Of artha’s dissolutioning movement, the effort expended in determined movement doesn’t always lead to a delightful outcome, and undetermined movement even by accident yields results.

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् काि-कानरतम इनत. ् १.२.२७ तत सवं 1.2.27/.tat^sarvaṃ kālakāritam iti//(p.21) Thus is all shaped in Time. The water fountains in the electric beats of TIME.

् िर् ायोर ्जयु १.२.२८ काि एव नह परुषाि अर्ाा ् िापयनत. ु पराजययोिः सख-दुिःखयोर् च 1.2.28/.kāla eva hi puruṣān artha^anarthayor jaya^parājayayoḥ sukha^duḥkhayoś ca sthāpayati//(p.21) Time alone is that which establish the PURUSHA’s Artha, dissolvatory Artha, victory, and defeat, joy and sadness. Purusha is the primordial man.

Manifest Time is the Water Fountain.

१.२.२९ कािेि बनिर ्इन्द्रिः कृ तिः. कािेि 58


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् कतेनत ु ्अप्य एिं व्यपरोनपतिः. काि एव पिर कािकारनणकािः. 1.2.29/.kālena balir indraḥ kṛtaḥ/ kālena *vyavaropitaḥ[ch:vyaparopitaḥ]/ kāla eva punar apy enaṃ kartā^iti kāla^kāraṇikāḥ//(p.22) Time takes transforms Bali to Indra, Time displaces, Time reestablishes, All this, on the fountain, is done in Time.

् -प्रवृत्तीिाम ् ु ा त्वात सवा १.२.३० परुष-कार-पू वक उपायिः प्रत्ययिः. 1.2.30/.puruṣa^kāra^pūrvakatvāt sarva^pravṛttīnām upāyaḥ pratyayaḥ//(p.22) The pre-principle that entirely drives-generates the manform, through methodology proceeds.

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् ास्योपाय१.२.३१ अ:वश्यं-भानविो ऽप्य अर् ् ा त्वाद ् एव. ि निष्कमाणो भद्रम अस्तीनत पूवक वात्स्यायििः. 1.2.31/.avaśyaṃ bhāvino +apy arthasya^upāya^pūrvakatvād eva/ na niṣkarmaṇo bhadram asti^iti vātsyāyanaḥ//(p.23) The essential needed manifests also by the pre-principle animating as artha, Only acting by way of dissolvatory action is the good in manifest established. This is the theory of Vatsyayana.

् त. ् धमाार् ायोिः प्रधाियोर ् १.२.३२ ि कामांर् चरे ् एवम अन्ये षां च सतां प्रत्यिीकत्वात. ् अिर् ाजि60


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् ् ् ् :आयनतं ्-व्यवसायम अर्ौचम संसगाम असद अि ु च ैते परुषस्य जियनन्त. 1.2.32/.na kāmāṃś caret/ dharma^arthayoḥ pradhānayor evam anyeṣāṃ ca satāṃ pratyanīkatvāt/ anartha^jana^saṃsargam asad^vyavasāyam aśaucam anāyatiṃ ca^ete puruṣasya janayanti//(p.23) In dissolvatory Love move, Dharma will present Artha , all that’s sought with the hundred natured consequent evolvatory. The comingling with the unreasoning will make difficult man’s evolution, is not leading to glory, and difficult thus the generative movement of the Purusha.

् ् १.२.३३ तर्ा प्रमादं िाघवम अ:प्रत्ययम अ:ग्राह्यतां च. 1.2.33/.tathā pramādaṃ lāghavam apratyayam agrāhyatāṃ 61


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ca/(p.23) Thus is endowed lightness, insufficient, and lack of comprehending-depth. [On the fountain may they be made unmanifest]

् काम-वर्-गािः स:गणा एव १.२.३४ बहवर् च नविष्टािः श्रूयन्ते. 1.2.34/.bahavaś ca kāmavaśagāḥ sagaṇā eva vinaṣṭāḥ śrūyante//(p.24) By Kama influences the good to the whole destroys, the word says. Kama bonds the multitudinous, inordered numerical impulsing, which is perceived.

१.२.३५ यर्ा दाण्डक्यो िाम भोजिः कामाद ् ब्राह्मण62


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् ु ो कन्याम अनभमन्यमाििः स:बन्ध-राष्ट्र नवििार्((५)). 1.2.35/.yathā dāṇḍakyo nāma bhojaḥ kāmād brāhmaṇa^kanyām abhimanyamānaḥ sabandhu^rāṣṭro vinanāśa//(p.24) As was the King of Bhoja named Dandakya by Love for a brahmana-virgin his self, relatives and kingdom destroyed.

् ् ् १.२.३६ देवराजर् च_अहल्याम अनत-बिर् च ् सीताम अपरे ् कीचको द्रौपदीं रावणर् च चान्ये च बहवो दृश्यन्ते काम-वर्-गा नविष्टा इत्य ् अर् ानचन्तकािः. 1.2.36/.devarājaś ca^ahalyām atibalaś ca kīcako draupadīṃ rāvaṇaś ca sītām apare ca^anye ca bahavo dṛśyante 63


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kāmavaśagā vinaṣṭā ity artha^cintakāḥ//(p.24) The King of Dieties with Ahalya the great strengthed Kichaka by Draupadi, Ravana through Sita. Others’ and not one’s this way seen, by Kama is drawn to destruction on the fountain, its Artha-meaning is to be in Artha thinking understood.

ु ाद ् आहार-स:धमााणो १.२.३७ र्रीर-निनत-हेतत्व ् धमाार् ायोिः. नह कामािः. फि-भूतार् च 1.2.37/.śarīra^sthiti^hetutvād āhāra^sadharmāṇo hi kāmāḥ/ phala^bhūtāś ca dharma^arthayoḥ//(p.25) The transmutando-body’s staying, creative reason being food – such is the Kama with Good Dharma, the fruit it bears with Dharma and Artha.

् ि नह नभक्षक ु ािः १.२.३८ बोद्धव्यं त ु दोषेष्व इव. 64


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सन्तीनत िाल्यो िानधश्रीयन्ते. ि नह मृगािः सन्तीनत यवा िोप्यित् इनत वात्स्यायििः. १.२.३९ भवनन्त चाि श्लोकािः 1.2.38/.boddhavyaṃ tu doṣeṣv iva/ na hi bhikṣukāḥ santi^iti sthālyo na^adhiśrīyante/ na hi mṛgāḥ santi^iti yavā na^upayanta iti vātsyāyanaḥ//(p.25) bhavanti ca^atra ślokāḥ: Aware be of the poisonous thou, but not does one for beggars, still the receptacle in the fire. Nor does one for the deers, avoid corn. This is the Vatsyayana view. In the fountain the world is poisoned, THROUGH INTELLIGENT AND AWARE PATTERNS at the CENTER, the neural sets the fountain alive, standing in PROFOUND STILLNES, transforming, IN DEER LIKE fountain leaps, in WORD MOVEMENT AND RENEWAL DRINKS. See the symbolism. The Deer is often symbolic of leaps. 65


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Often of Leaps in the higher space, of neural leapgeneratives in the brain stem projected from the cerebral. The horse of horse-like movement, the patterns perhaps more present in lower portion of the cerebro spinal, the Cuada Equina, and perhaps in the hippocampus as well, by form as two water-horses driving the spinal chariot. By form, we may guess it is involved in the projection into thalamic centers of neural impulses. Fountains perception, moving it along the axis and the cerebro-spinal strongly enough to form new pathways, and patterns. Thus plays a role in memory, and perhaps reprojection of memory into the axis. As memory recollection involves its mapping into axial movement and bodily perception. Thinking of snow makes the body feel cold. The formation of memory will be slow or absent in the absence of a properly functioning hippocampus. This is documented in medical literature. The hypothesis here is that so will be the projection of memory to bodily feeling - be not as strong. The perception signatures associated with the memory perhaps is projected into the 66


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hippocampus, and the axial chariot driven as per the program. For memory to form, the axial movements and the cerebral movements whose signature projects to the axis – as when seeing a snow field makes us feel cold, etc. - perhaps needs to be held in the hippocampus and repeated, to generate the pathways. Sexually, the horse-like movement is needed to implant the seed-signature powerfully. The deer like movement to drive it higher, generate joyous bonding to higher spaces, generate the dopamine and other bonding-circulatory. The form of things may be imitated in impulsing, intent, in thrusting movement, in stillness. Neurochemicals, have their analogues in sexual perception and thus in sexual movement.

Each element is anthropic perception. Oxygen a perception of life endowing circulation, perhaps. Hydrogen of activation, to put in vague words. Carbon of structuring. 67


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Perception is neuroimpulsing as well, numerical impulsing, that is.

Music, numbers in rhythm can create all perceptions, of words, forms, feelings, personality, and so forth. It can drive action.

The nuclei thus contain numerical encoding needed to generate the neurochemicals. The numerical encoding within the cellular nucleus in triadic beats maps to proteinogenic aminoacids, for instance. The amino acids are transforming earth-matter, given meaning as protein structures and their nuances, before they are sublimed into deeper bodies that order-circulate information in reality, perhaps. Nitrogen seems a pattern dissolving to the deeper. Carbon of manifest circulation – while nitrogen the tendency to bond with a deeper source. The numerical patterns associated may be studied in perception. The symbolism of number 6 is of circulation, while 7 of breakthrough to a 68


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higher space. Carbon and Nitrogen have the atomic numbers 6 and 7 respectively.

Presented being in this respect verses:

् ् च कामं च धमं चोपाचरि ् १.२.३९व एवम अर्ं िरिः. 1.2.39ab/.evam arthaṃ ca kāmaṃ ca dharmaṃ ca^upācaran naraḥ/(p.25) Thus Artha-Kama-Dharma in bonded movement subservient man,

् 1.2.39cd/. इहामिु च नििःर्ल्यम अत्यन्तं ् ते ु .. ु अश्न सखम 1.2.39cd/.iha^amutra ca niḥśalyam atyantaṃ sukham 69


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aśnute//(p.25) Here with fountain-breath draught immortal nectar, dissolves all thorns, and infinite pleasure resides in. [Or, the nectar as dissolvatory darts emerging generates a fountain of infinite transformatory bliss.]

् ् त्य आर्ङ्का १.२.४०व१् नकं स्यात परिे काये यनिि ् ि जायते. 1.2.40ab/.kiṃ syāt paratra^ity āśaṅkā kārye yasmin na jāyate/(p.26) Who wonders of the future, this thought that the deed may end not in success,

् व्यवनितािः.. ु चेनत नर्ष्टास ति ि चार् ा-घ्नं सखं 1.2.40cd/.na ca^arthaghnaṃ sukhaṃ ca^iti śiṣṭās tatra vyavasthitāḥ//(p.26) 70


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That, not with artha, is destroyed the pleasure of the other time’s existences established. Neurally breaking through with artha, is the triadically extending goodness projected into other worlds.

् ् ियोर ्एकस्य १.२.४०व२् निवगा-साधकं यत स्याद ु वा पििः. 1.2.41ab/.trivarga^sādhakaṃ yat syād dvayor ekasya vā punaḥ/(p.26) Triadically distilling and expanding in movement, which may possibly by dual return to one, or in WORD-breath renew

् कायं तद ् अनप कुवीत ि त्व एकार्ं नि-बाधकम..् 1.2.41cd/.kāryaṃ tad api kurvīta na tv eka^arthaṃ dvi^bādhakam//(p.26)

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Let the action thus done be not one factor expanding and the two factors oppressing. DONE NEURALLY, THE ONE EXPANDING, the DUAL AFFECTING.

् श्रीवात्स्यायिीये कामसूि े साधारणे १.२च इनत प्रर्मे ऽनधकरणे निवगा-प्रनतपनत्तर ्नितीयो ऽ्ायिः.((६)) 1.2c iti SrIvAtsyAyanIye kAmasUtre sADAraRe praTame 'DikaraRe trivarga-pratipattir dvitIyo 'DyAyaH.((6)) [slp]

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३ अर् नवद्यासमद्देु र्-प्रकरण-िामकिः तृतीयो ऽ्ायिः प्रकरण ३

नवद्यासमद्देु र् 1.3.(3) vidyāsamuddeśaḥ The knowledge – perception of evolutionary patterns from 73


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the vase – in distilled exposition.

् :उपरोधयि ् ् १.३.१ धमाार्ााङ्गनवद्या-कािाि अि ् परुषो ु ऽधीयीत. काम-सूि ं तद ्-अङ्ग-नवद्यार् च 1.3.1/.dharma^artha^aṅgavidyā^kālān anuparodhayan kāmasūtraṃ tad^aṅgavidyāś ca puruṣo +adhīyīta//(p.27) Dharma-Artha generated limbs of knowing, in Time rising, is the Kamasutram. These limbs of knowledge, with the Purusha is gained proficiency in.

् ् प्रत्ता च पत्यरु ् १.३.२ प्राग यौविात स्त्री. अनभप्रायात. ् 1.3.2/.prāg^yauvanāt strī/ prattā ca patyur abhiprāyāt/ The one generating the enlivening fountain of youth is the 74


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women, the movement being bestowed under the will of the husband. The PRIMORDIAL masculine, THE CREATOR, is partner to all created feminine – AND IN THE RENEWING PROCESS, THE HUSBAND TO THE FEMININE OF THE COSMOS, IS THE CREATING PRINCIPLE. The Purusha’s movement expanding forth GUNAS in the Prakriti is the manifest COSMOS.

् ाकम ् १.३.३ योनषतां र्ास्त्र-ग्रहणस्याभावाद ् अि:अर् ् ् इह र्ास्त्रे स्त्री-र्ासिम इत्य आचायाा िः 1.3.3/.yoṣitāṃ śāstra^grahaṇasya^abhāvād anarthakam iha śāstre strī^śāsanam ity ācāryāḥ//(p.27) Thinking the women is unable, or lacks the structuring to comprehend the fountain science, without meaning this science to teach the women, thus says the ancient Artists. Thinking of this science as the stri fountains meaning 75


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movement, so follows its dissolutionary meaning, so says the ancient Artists.

् १.३.४ प्रयोग-ग्रहणं त्व आसाम . ् प्रयोगस्य च ा त्वाद ् इनत वात्स्यायििः. र्ास्त्र-पूवक 1.3.4/.prayoga^grahaṇaṃ tv āsām/ prayogasya ca śāstra^pūrvakatvād iti vātsyāyanaḥ//(p.28) The practice technique they do understand, and the practice is the prior-generative of the fountain science, this is the Vatsyayanah view.

् व. सवाि नह िोके कनत १.३.५ ति ि् के विम इहै ् प्रयोगिः. नचद ् एव र्ास्त्र-ज्ञािः. सवा-जि-नवषयर् च 1.3.5/.tan na kevalam iha^eva/ sarvatra hi loke kati cid eva 76


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śāstrajñāḥ/ sarvajana^viṣayaś ca prayogaḥ//(p.28) The pattern is not limited to here alone, in all the world, few are the scientists, and all are appliers of subject knowledge. The scientists are the ones who break through the patterns, or the patterns ordering, the folk moves with the fountain.

् ् हेतिःु . १.३.६ प्रयोगसय् च दूरिम अनप र्ास्त्रम एव 1.3.6/.prayogasya ca dūrastham api śāstram eva hetuḥ//(p.28) However far the practical application, the science alone IS generative OF THE fountain. Whatever the practical application, however removed, the science alone is the seed.

् याकरणा अनप ् १.३.७ अनस्त व्याकरणम इत्य अवै ु ते. यानज्ञका ऊहं क्रतषु ु प्रयञ्ज 1.3.7/.asti vyākaraṇam ity avaiyākaraṇā api yājñikā ūhaṃ kratuṣu prayuñjate//(p.29) 77


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Thus, grammar on the fount is the science of the evolution pattern, even this the sacrificer through discerning guesses, in practice applies. The grammar and the inverted grammar of the fountain the sacrificer by the seed breath’s transformations, understands.

् पण्याहे ु १.३.८ अनस्त ज्यौनतषम इनत ष ु कमा कुवात.े 1.3.8/.asti jyautiṣam iti puṇya^aheṣu karma kurvate//(p.29) Thus is the science of astrology used for doing virtue obtaining actions. The psyche are the planets, AND SPHERES, comprehending the FORM AND movements, and adapting it to the same, the transmutando nature is set up.

् र् ् ् १.३.९ तर्ाश्वारोहा गजारोहार् चाश्वाि गजां 78


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् चाि:अनधगत-र्ास्त्रा अनप नवियन्ते. 1.3.9/.tathā^aśva^ārohā gaja^ārohāś ca^aśvān gajāṃś ca^anadhigata^śāstrā api vinayante//(p.29) In this way, is the horse mounted, the elephant mounted, and with the horse and elephant riding science even thus it is but in secret unconscious guidance . The asva, the elephant, moving with their guide, are manifestations of the science setting them into movement. Asva, Gaja, etc., are aspects of the neural system as well, Of sexual movements, and their internal perceptions, as well. The cerebellum and the brain-stem together appears as an elephant. The Indra principle of Vedic literature is thought mounted on a white elephant, and projects a thunderbolt for weapon. The cerebral spaces projecting electricity along the spine destroys degenerate matter. The brain holding the signature of the PROFOUND. The thunderbolt weapon is carried by Zeus of Greek legends as well. In Indian legends, Indra’s thunderbolt or Vajra, were created from the spine of a sage. 79


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In other traditions, Vajra appears as an implement with two expansions – the human spinal cord has two such expansions. The Vajra and bell may perhaps be symbols of the spinal and the rhythming creative beats.

१.३.१० तर्ानस्त राजेनत दूरिा अनप जिपदा ि ् मयाादाम अनतवता न्त े तिद ् एतत. ् 1.3.10/.tathā^asti rājā^iti dūrasthā api janapadā na maryādām ativartante tadvad etat//(p.29) As the people even far from the King never crosses the boundary of good behavior set by him. So it is here.

् ु १.३.११ सन्त्य अनप खलु र्ास्त्र-प्रहत-बद्धयो ् ु महामाि-दुनहतरर् च. गनणका राज-पत्र्यो 80


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1.3.11/.santy api khalu śāstra^prahata^buddhayo gaṇikā rājaputryo mahāmātra^duhitaraś ca//(p.30) Bestowing also truly is Science the expansion of the intelligence to courtesans, daughters of Kings, and the daughters of the great Ministers. The beats of the fountain bonded with enliven the intelligence, the ROYAL GENERATIVE, in great beats is the nourishing taken.

् ् रहनस १.३.१२ तिाद ् वैश्वानसकाज जिाद ् ् प्रयोगाञ छास्त्रम एकदे र् ं वा स्त्री गृह्णीयात. ् 1.3.12/.tasmād vaiśvāsikāj janād rahasi prayogāñ chāstram ekadeśaṃ vā strī gṛhṇīyāt//(p.30) Therefore the science of the believers, the practice employed in secret, the art’s estimate ,is by the women comprehended.

This, the fountain’s fire generative, in secret breath pouring 81


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and shooting in the eka-desham fountain forms is in the mouth-breath of the feminine comprehended.

् चातिःु षनष्टकाि ् १.३.१३ अभ्यास-प्रयोज्यांर् च ् ् ् योगाि कन्या रहस्य एकानकन्य अभ्यसेत .् 1.3.13/.abhyāsa^prayojyāṃś ca cātuḥṣaṣṭikān yogān kanyā rahasy ekākiny abhyaset//(p.30) Practice the arts of the 64 yogas; the Virgin should in secret solitude practice them. The virginal principle, the waters moved in the 64 ways in secret internal bonding. Thus is the science comprehended.

64 is a pattern generated in dual spaces. As the hexagrams generated from the dual union of the ba guas, which in turn are the primordial yin and yang in triadic patterns. The impulse and repose in strings map to patterns of 82


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movements, patterns of art, patterns of fire water movement, patterns of auctioning of the senses and action-drivers. A more organic approach to exploring reality, penetrating directly than leaning on such mapping may perhaps produce greater insights.

ु १.३.१४ आचायाास त् ु कन्यािां प्रवृत्त-परुषसंप्रयोगा सह:संप्रवृद्धा धािेनयका. तर्ा:भूता वा ् मातृ् निर:अत्यय-सं भाषणा सखी. सवयार् च ् श्वसा. नवस्रब्धा तत-िािीया वृद्ध-दासी. पूव-ा संसष्टृ ा ु ी. स्वसा च नवश्वास-प्रयोगात. ् वा नभक्षक

1.3.14 ācāryās tu kanyānāṃ pravṛtta-puruṣa-saṃprayogā saha:saṃpravṛddhā dhātreyikā. tathā:bhūtā vā nir:atyayasaṃbhāṣaṇā sakhī. savayāś ca mātṛ-śvasā. visrabdhā tatsthānīyā vṛddha-dāsī. pūrva-saṃsṛṣṭā vā bhikṣukī. svasā ca 83


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viśvāsa-prayogāt.

The artists by the art putting to purpose, in togetherness with his nature generates the Egyptian sister. Thus is the generation of the partner that speaks in watery dissolution. Of TIME-Form, as the breath’s metrical, the expansion pattern standing –reflecting girlfriend, the whole consuming and transforming one. The breath and the inverse, employing. The Artist’s guiding with the Virgin, is that which expands in her, in the Union-movement; which in Union with her evolves; in other words, the generated partner, the one speaking as the generated word. The self-transmutando, with the feminine breath. Adhering to the word, the feminine partner thus standing. The wholly united feminine companion. In the breath and its inverse the transformatory potentialities united. In the living breath-fountain movements and generated 84


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perceptions are the arts comprehended. In repetition dualistically they are comprehended as well. The ideophenetics playing on the fount, bonded with the Creator, generates knowledge, as they are perceived.

् ् ् १.३.१५ गीतम (१), वाद्यम (२), िृत्यम (३), ् ् आिेख्यम (४), नवर्ेषकच्छेद्यम (५), तण्डुि् ु ु कुसम-वनिनवकारािः (६), पष्पास्तरणम (७), दर्ि-वसिागरागिः (८), मनण-भूनमका-कमा (९), ् ् र्यि-रचिम (१०), उदक-वाद्यम (११), ् योगािः (१३), माल्यउदकाघातिः (१२), नचिार् च ग्रर्ि- नवकल्पािः (१४), र्ेखरकापीड-योजिम ् (१५), ि ेपथ्य-प्रयोगािः (१६), कणा-पत्त्र- भङ्गािः 85


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् (१७), गन्ध-यनु क्तिः (१८), भूषण-योजिम (१९), ् (२१), हस्तु ऐन्द्रजािािः (२०), कौचमारार् च ् िाघवम (२२), नवनचि-र्ाक-यषू -भक्ष्य-नवकार् नक्रया (२३),.पािकरसरागासव-योजिम (२४), सूचीवाि-कमाानण (२५), सूिक्रीडा (२६), वीणाडमरुक-वाद्यानि (२७), प्रहेनिका (२८), प्रनतमािा ् ु (२९), दुवााचक-योगािः (३०), पस्तक-वाचिम ् (३१), िाटकाख्यानयका-दर्ािम (३२), काव्य् समस्यापूरणम (३३), पनिकावाि-वेि-नवकल्पािः ् (३४),तक्ष-कमाानण (३५), तक्षणम (३६), वास्त-ु ु नवद्या (३७), रूप्य-परीक्षा (३८), धात-वादिः (३९), 86


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् मनण-रागाकर-ज्ञािम (४०), वृक्षायवु दे -योगािः ु (४१), मेष-कुक्कुट-िावक-यद्धु -नवनधिः (४२), र्क ् सानरका-प्रिापिम (४३), उत्सादि े संवाहि े ् ् ु के र्मदाि े च कौर्िम (४४),अक्षर-म नततकाकर्िम (४५), म्लेनच्छत-नवकल्पािः (४६), देर्-भाषा् ु नवज्ञािम (४७), पष्प-र्कनटका (४८), निनमत्त् ज्ञािम (४९), यन्त्र-मातृका (५०), धारण-मातृका ् (५१), सम्पाठ्यम (५२), मािसी काव्य-नक्रया ् (५३), अनभधािकोर्िः (५४), छन्दो-ज्ञािम (५५), नक्रया-कल्पिः (५६), छनितक-योगािः (५७), ् वस्त्रगोपिानि (५८), द्यूत-नवर्ेषिः (५९), आकरष87


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क्रीडा (६०), बाि-क्रीडिकानि (६१), वैिनयकीिाम ् ् (६२), वैजनयकीिाम (६३), व्यायानमकीिां च (६४) ् चतिःु -षनष्टर ्अङ्ग-नवद्या. नवद्यािां ज्ञािम इनत कामसूिावयनवन्यिः. 1.3.15 gītam (1), vādyam (2), nṛtyam (3), ālekhyam (4), viśeṣakacchedyam (5), taṇḍula-kusuma-vali- vikārāḥ (6), puṣpāstaraṇam (7), daśana-vasanāgarāgaḥ (8), maṇibhūmikā-karma (9), śayana-racanam (10), udaka-vādyam (11), udakāghātaḥ (12), citrāś ca yogāḥ (13), mālya-grathanavikalpāḥ (14), śekharakāpīḍa-yojanam (15), nepathyaprayogāḥ (16), karṇa-pattra- bhaṅgāḥ (17), gandha-yuktiḥ (18), bhūṣaṇa-yojanam (19), aindrajālāḥ (20), kaucumārāś ca (21), hasta-lāghavam (22), vicitra-śāka-yūṣa-bhakṣya-vikārakriyā (23),.pānakarasarāgāsava-yojanam (24), sūcīvānakarmāṇi (25), sūtrakrīḍā (26), vīṇā-ḍamaruka-vādyāni (27), prahelikā (28), pratimālā (29), durvācaka-yogāḥ (30), 88


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pustaka-vācanam (31), nāṭakākhyāyikā-darśanam (32), kāvya-samasyāpūraṇam (33), paṭṭikāvāna-vetra-vikalpāḥ (34),takṣa-karmāṇi (35), takṣaṇam (36), vāstu-vidyā (37), rūpya-parīkṣā (38), dhātu-vādaḥ (39), maṇi-rāgākara-jñānam (40), vṛkṣāyurveda-yogāḥ (41), meṣa-kukkuṭa-lāvakayuddha-vidhiḥ (42), śuka-sārikā-pralāpanam (43), utsādane saṃvāhane keśamardane ca kauśalam (44),akṣaramuṣtikākathanam (45), mlecchita-vikalpāḥ (46), deśa-bhāṣāvijñānam (47), puṣpa-śakaṭikā (48), nimitta-jñānam (49), yantra-mātṛkā (50), dhāraṇa-mātṛkā (51), sampāṭhyam (52), mānasī kāvya-kriyā (53), abhidhānakośaḥ (54), chandojñānam (55), kriyā-kalpaḥ (56), chalitaka-yogāḥ (57), vastragopanāni (58), dyūta-viśeṣaḥ (59), ākarṣa-krīḍā (60), bāla-krīḍanakāni (61), vainayikīnām (62), vaijayikīnām (63), vyāyāmikīnāṃ ca (64) vidyānāṃ jñānam iti catuḥ-ṣaṣṭir aṅga-vidyā. kāmasūtrāvayavinyaḥ. ् 1. गीतम (१), gītam The song, that moves along the acis.

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The transformatory song. The song of the canary crystallizes over time. ् 2. वाद्यम (२), vādyam Transforming air movement to musical beats – the science of instrumentation. The playing of the musical instruments – the breath animating the body material, and the material animated by the breath, ् 3. िृत्यम (३), nṛtyam The transformatory dance, and its generation in neural space. 3.

The science of

the dissolutionary dance, The movement of the fire water that dissolves and its regenerative structuring in will. ् 4. आिेख्यम (४), ālekhyam Generating the transmutando from the waters, a painting it in the breath as patterns, drawing, colours. The science of painting – the science of expanding out the transmutando in forms and colors ् 5. नवर्ेषकच्छेद्यम (५), viśeṣakacchedyam The division into natural aspects, elemental aspects, division as 90


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per peculiar natures. The science of penetrating the qualities of a thing. Breaking it apart and analyzing the same. ु 6. तण्डुि-कुसम-वनिनवकारािः (६), taṇḍula-kusuma-valivikārāḥ How the rice water seed blooms from wrinkled state, transforming, by the breath, and by the precause. How from a branch or stem the flower expands out. The rice-grain blooming, and the intellect perception allowed to bonded-evolve. ् ु 7. पष्पास्तरणम (७), puṣpāstaraṇam The art of spreading the transmutando blooms. Transforming matter over by the bloom, and the ordering of the flowers. 8. दर्ि-वसिागरागिः (८), daśana-vasanāgarāgaḥ The transformative explosion of perceptive centers, or the evolutionary centers. The breaking through through normal neural patterns into the

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supernormal. The biting—grinding-transformative neural spaces and their knowledge. 9. मनण-भूनमका-कमा (९), maṇi-bhūmikā-karma Transformation of earth by the Jewel. Bhumi as earth a plane of breath-transformation. Manita मनणत is said to be an inarticulate murmur made by women during cohabation. murmur libidinosum. How the Jewel is used to evolve the materia. ् 10. र्यि-रचिम (१०), śayana-racanam Transforming in rest. Sayana kind of repose in the fountain. Rachanam has in modern dictionaries the given sense, creation, fountaining in fire movement, to write, to prepare, make, arrange, make in imagination. Transforming in the rest-space, the four-natured elementary bed. ् 11. उदक-वाद्यम (११), udaka-vādyam Playing the water vase. The U vase with the d opening leading to ka transformation. WATER games.

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12. उदकाघातिः, udakāghātaḥ(१२), The art of beating the water. The Udaka space transforming in beats. The art of transforming the URN ENERGIES, AND MUD MATTER. ् योगािः (१३), citrāś ca yogāḥ Triadizing fire 13. नचिार् च fountain on the vase, generating imagery, with union. The art of myriadizing. The Generation of IMAGERY IN UNION WITH THE CREATOR. 14. माल्य-ग्रर्ि- नवकल्पािः (१४), mālya-grathana- vikalpāḥ circulatory river garland bonding from ground material in serpentine breath by transformatory will, as breath bonding two time spaces. The garland of knowledge and its expansion. The expanding out of the movement of the Creator’s intent and gaining knowledge of the same, perhaps - The study of that movement in inner anthropic spaces.

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् 15. र्ेखरकापीड-योजिम (१५), śekharakāpīḍa-yojanam By restrain bonding to the crown space’s transformatory. 16. िेपथ्य-प्रयोगािः (१६), nepathya-prayogāḥ Neural fountain in potentialities forming the serpentine breath – the practice, use, there of. 17. कणा-पत्त्र- भङ्गािः (१७), karṇa-pattra- bhaṅgāḥ The hearing by virtue of the emergent leaves separated into serpentine patterns. 18. गन्ध-यनु क्तिः (१८), gandha-yuktiḥ conjoining by smell movement . transformatory oudour intelligence.. Using perfumes intelligently. Loving in accordance with the nature of perfumes. Diffusion, persistent movement. Monier Williams says, गन्ध/अ [p= 345,1] [L=62971] m. smell , odour (nine kinds are enumerated , viz. इष्ट , अनिष्ट , मधरु , कटु , निहाानरि ,् संहत , निग्ध , रूक्ष , नवर्द ; a tenth kind is called अम्ल ) &c (ifc. f(आ). )

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् 19. भूषण-योजिम (१९), bhūṣaṇa-yojanam The art of decorating, adorning, beautifying, vitalizing, leading to the union, or profoundizing the UNION BREATH. 20. ऐन्द्रजािािः (२०), aindrajālāḥ GENERATING by higher neural magic from water. Illusion, generation of patterns from water. ् (२१), kaucumārāś ca The art of ु 21. कौचमारार् च conjuring, and transforming from the mud vase, generating a fountain therefrom. ् 22. हस्त-िाघवम (२२), hasta-lāghavam The swiftness of the hands, the light swiftness of the neural space. The elephant-trunk enlivening. Enlivening by the hand. 23. नवनचि-र्ाक-यूष-भक्ष्य-नवकार-नक्रया (२३) vicitra-śāka-yūṣabhakṣya-vikāra-kriyā Manifold, variegated breath wind pictures moving in the vase, generating consumptaries, generating the soup, its consumption and expansion. Preperation of soup 95


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involves boiling vegetables , plants, and meat in water. नव-कार 2 [p= 954,3] [L=193961]

m. (for 1. »

[p= 950,1]) change of form or nature , alteration or deviation from any natural state , transformation , modification , change (esp. for the worse) of bodily or mental condition , disease , sickness , hurt , injury , (or) perturbation , emotion , agitation , passion &c [p= 954,3] [L=193962]

an

apparition , spectre, change of sentiment , hostility , defection. Thus neural projection and transformation along the manifest patterns, and forms. Leading the movement into the unmanifest, bonding thereto – the idea of consumption, perhaps. ् 24. पािकरसरागासव-योजिम (२४), pānakarasarāgāsavayojanam THe V goblet drink, its flavours sampled in fire water, its musical, with the soma extract enjoining. पािक--रस-रागा* सव-योजि [p= 613,2] [L=120904]

n. sg. () , pl. () one of the 64 किाs or 96


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arts. Enjoining the neural music input to the axial profoundest. Ordering of perception in the anthropic system .

25. सूचीवाि-कमाानण (२५), sūcīvāna-karmāṇi the science of the needle and the loom, the science of generating a needle like transmutando draught. The slightest transformation, leads to the profounder, as more draughts are established. 26. सूिक्रीडा (२६), sūtrakrīḍā स/ऊि--क्रीडा [p= 1242,1] [L=251211]

f. a partic. game with strings.

Transforming by the sutra form. The game of sutra forms. 27. वीणा-डमरुक-वाद्यानि (२७), vīṇā-ḍamaruka-vādyāni Playing the veena and the damaru – which have their analogies in the anthropic form. 28. प्रहेनिका (२८), prahelikā h The art of UNRESTRAINED PLAY. The art of proposing riddles, enigmas, and puzzles. 97


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29. प्रनतमािा (२९), pratimālā TO Reflect onward. A verse’s continuation generated from its current state. The ability to understand the generated future of a fountain expression. To say what follows from the verse. Maala is a garland, if you have one half of it you could generate the reverse pattern, and thus complete the whole. Prati has the sense image, reflection, inverse movement, etc. The ability to reflect a pattern, to form a BONDED WHOLE. 30. दुवााचक-योगािः (३०), durvācaka-yogāḥ The science of bonding through harsh expressions. The expressions are aligned to the transformatory drumming, the transformatory chamber movements, and bonds to the profounder. ् ु 31. पस्तक-वाचिम (३१), pustaka-vācanam The science of reading books. A pustak is a pattern of bonding to the fountain. To generate the perceptive wordfountain therefrom. A fountain may be generated 98


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in line with the word-forms in it, and the information comprehended in patters of seed expression generated. How the whole pattern emerges from the Creating Principle, as an expression of the creating will needs to be explored. ् 32. िाटकाख्यानयका-दर्ािम (३२), nāṭakākhyāyikā-darśanam The generated dramatic beats in the nervous sytem, by virtue of moved breath, creating a picture. The way of perceiving the thus generated pictures. The emergence and disappearance into vagueness studied. ् 33. काव्य-समस्यापूरणम (३३), kāvya-samasyāpūraṇam . The art of making whole, merging together the emergent poetic beats. The filling the puzzling in the poem . 34. पनिकावाि-वेि-नवकल्पािः pawwikAvAna-vetra-vikalpAH silk like weaving movement up the vetra staff fountaining and expanding. वािक (H2) वािक [p= 940,3] 99


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[L=190834]

n. the state of a ब्रह्म-चानरि .् In layered

potentialities, in triadic breath, expanding,transforming the the manifest world – bonding the rigidified to higher spaces, upon transformation by the PRIMAL MOVEMENTS.

35. (३४),तक्ष-कमाानण takṣa-karmāṇi Serpentine work, the work of a serpent taksha. Dissolving and digesting the world-flesh by projected poison. ् 36. (३५), तक्षणम takṣaṇam M merging into the na vase by virtue of the spontaneous nature of the taksha poison. Achieving things in an instant. 37. (३६), वास्त-ु नवद्या (३७), vāstu-vidyā Knowledge of how the breath stands. The knowledge of structuring in the breath. The knowledge thus of architecture, of sustaining the fountain in the word-breath, extending its influence into the world. 38. रूप्य-परीक्षा (३८), rūpya-parīkṣā Examining forms and understanding their nature by their axis 100


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fountaining. Pariksha in measure can be used to strengthen the fountain. Rupya is associated with man, mountain, silver – रूप्याचि is associated the sense kailasa, Everest. ु 39. धात-वादिः (३९), dhātu-vādaḥ Understanding and being able to work with the metallic nature of things. The inner nature of elemental substancces brought out and studied. How they are formed on the axial movements. ् 40. मनण-रागाकर-ज्ञािम (४०), maṇi-rāgākara-jñānam मनणत (H2) मनणत [p= 774,3] [L=154589]

n. an

inarticulate sound said to be uttered (by women ) during cohabitation , murmur libidinosum . Mani is a jewel, a sacred pool, etc., Maniraga is attributed these sense,मनणराग मण/इ--राग [p= 775,2] [L=154783]

mfn. having the colour of a jewel

मण/इ--राग [p= 775,2] [L=154784]

m. the colour of

a jewel मण/इ--राग [p= 775,2] [L=154785] kind of metre (H3B) मण/इ--राग [p= 775,2] 101

m. a


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[L=154786]

n. vermilion (H3B) मण/इ--राग [p=

775,2] [L=154787] n. a kind of ruby

raga has the sense passion, colour, musical form, etc. Knowledge of mani raga’s form. Mani is the kind of fountaining that merges to the source. Knowledge of the colour and forms of manifest jewels. The form of the crystallized transmutando, the transmutando projected to the world and the internal transmutando.

41. वृक्षायवु दे -योगािः (४१), vṛkṣāyurveda-yogāḥ The union science of tree lives. The expanding neural and its bonding to the PROFOUNDEST SOURCE.

ु -नवनधिः (४२), meṣa-kukkuṭa-lāvaka42. मेष-कुक्कुट-िावक-यद्ध yuddha-vidhiḥ The shepherdine way of battling the fiery outflow and restraining it to the fountain 102


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form. The art of knowing and restrain the transmutando’s violent interaction. The dissolutionary merging of all perception to the axis, to perception of the PROFOUNDEST. The perceived world around being battled an dissolutioned, irrespective of the form. ् ु -सानरका-प्रिापिम (४३), 43. र्क śuka-sārikā-pralāpanam Parrot, and maina, two kinds of birds – the transmutando – understanding their speech, an having them speak. The profounder-bonding and the serpentining UNIONED AND MERGED IN INTERACTION. ् 44. उत्सादिे संवाहिे के र्मदाि े च कौर्िम utsādane saṃvāhane keśamardane ca kauśalam Exciting-destroyingtransforming, making rise, beating into the head and hair, with fountaining skillfulness – THE DUALISTIC FOUNDTAINING INTO HIGHER SPACES.

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् 45. (४४),अक्षर-मनु ततकाकर्िम akṣara-muṣtikākathanam The primal alphabetical, expressing with the palms and fists. The action sense of alphabets, the PRIMAL FORMS IN NATURE. 46. (४५), म्लेनच्छत-नवकल्पािः mlecchita-vikalpāḥ A Foreign language making sense of. To bond with an external expression. To EXPAND OUT, ORDER, AND understand the mlecha or the barbarian base. To destroy, distill, comprehend. 47. (४६), देर्-भाषा-नवज्ञािम ् deśa-bhāṣā-vijñānam Understanding language as it expresses in various nations. The fountain and the breath as it expresses in different aspects of the human form. ु 48. (४७), पष्प-र्कनटका puṣpa-śakaṭikā the art of the transmutando bloom fountain cart. Merging aspects of reality as perception blooms up the axial. ् 49. (४८), निनमत्त-ज्ञािम nimitta-jñānam Knowledge of the causes, the signs, the signatures of expression and 104


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whereto it leads. Knowledge of the strange omens. निनमत्तक is a kiss. 50. (४९), यन्त्र-मातृका yantra-mātṛkā The breath transmutando machine’s typical forms. िेण has the sense, a restrain, a forcible restrain. यन्त्रण (H2) यन्त्रण [p= 845,2] [L=170249] » [p= 846,1]. (H2) यन्त्रण [p= 846,1] L=170366] n. (or f(आ).) restriction , limitation , restraint , constraint , force , compulsion (often ifc.) [p= 846,1] [L=170367] the application of a bandage [p= 846,1] [L=170368] pain , anguish , affliction (H2B) यन्त्रण [p= 846,1] [L=170370] n. guarding , protecting. Diagramattic representations mātṛkā of yantra principles. Mechanics. Matr has the sense metrical form. 51. (५०), धारण-मातृका dhāraṇa-mātṛkā Nature and metrical natures of receptacles. The metrical nature of formed perceptions and understandings. The Forms water streams joining tend to take. The joining streams are perception centers. 105


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् 52. (५१), सम्पाठ्यम sampāṭhyam distilling together the word, reading-studying in merged perception. The merging here may be among the streams, with the seed patterns. And all right perception IS MERGED WITH THE CREATING PRINCIPLE. 53. (५२), मािसी काव्य-नक्रया mānasī kāvya-kriyā Generating poetical forms, poetical breath forms, by breath movement, generated by the mind. 54. (५३), अनभधािकोर्िः abhidhānakośaḥ The CORE BODY of the art of naming. NAMING BY NATURE OF THE Breath fountain. Naming by nature of the breathing in the cell. अनभधािनचन्तामनण " the jewel that gives every word ." अनभधािक is a sound or voice. अनभधामूि the root nature of the ् ् sound movement. अनभधाव (H1) अनभ- √ धाव [p= 63,2] [L=11545] -धावनत , to run up towards , to rush upon , attack. Kosa has the sense cell, testicle, penis, vulva, a fliud container, etc. कोर्ी is a seed vessel. Other senses are possessing treasures, the 106


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receptacle, the sheath of the sword. The profoundest sound understood in the cells. Abhi speaks of ITS NATURE of proceeding forth and return, manifesting, unmanifesting. The body cells bonded to it – FUNCTION PERFECTLY THEIR ROLE IN THE REAL AND IN THE PLANES BEYOND. BEING RENEWED CONTINUALLY. BEIGN MADE UNMANIFEST CONTINUALLY, FULFILLING THE ROLE OF DEATH, without DYING. 55. (५४), छन्दो-ज्ञािम ् chando-jñānam The knowledge of rhythming, beating, metre, of what is generated in the beating. ज्ञाि is firewater vase, axis and neural activity ALL TEST is a test of fire water nature, It would seem. Its extent of alignement with primordial rhythming, perhaps. The body perfectly thus alighned defies the onslaught of external reality.

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56. (५५), नक्रया-कल्पिः kriyā-kalpaḥ Knowing the nature of action. It order,source, cycling, rules, rites, and forms, forming. Action as anthropic nature. 57. (५६), छनितक-योगािः chalitaka-yogāḥ The nature of initial movement, its taking form, deceptive by unstable nature. Neural principles attempting movementing, to take precedence, etc., perhaps. How there is movement established on them. The science of union-movement. The science of movement. 58. (५७), वस्त्रगोपिानि vastragopanāni The art of concealment, of keeping secrets, generating layered movement in the breath. Of the transmutando-form being protectively and aesthetically covered. 59. (५८), द्यूत-नवर्ेषिः dyūta-viśeṣaḥ The nature of randomness, of emergent and sent messages, their fountaining. ThE NATURE OF GAMBLING. dyūta IS attributed the sense GAMBLING. art OF 108


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SENDING MESSAGING, IDEAS ,IN THE DYU BREATH. 60. (५९), आकष-ा क्रीडा (६०), ākarṣa-krīḍā The Games of attraction. Of attracting, drawing towards oneself, of dice, of magnets. 61. बाि-क्रीडिकानि (६१), bāla-krīḍanakāni child’s play. The GAMES of children. A CHILD IS AS WELL THE Anthropos IN FORMATION. ् 62. वैिनयकीिाम (६२), vainayikīnām THE ART OF NEURAL GUIDING OF THE BREATH FOUNT, of enforcing guiding etiquette. ् 63. वैजनयकीिाम (६३), vaijayikīnām ESTABLISING ON THE FOUNT THE TRANSMUTANDO BANNER. The science of victory. Of fire-water victory over the external real. 64. व्यायानमकीिां च (६४), vyāyāmikīnāṃ PHYSICAL EXERCISES, THE MERGED ORDERING OF BREATH MOVEMENTS. All physical movements

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being done as movements of the CREATOR, the BODY THUS TRAINED INTO A COSMIC BODY. ु ्अङ्ग-नवद्या. कामसूिावयनवन्यिः. नवद्यािां ज्ञािम ् इनत चतिः-षनष्टर vidyānāṃ jñānam iti catuḥ-ṣaṣṭir aṅga-vidyā. kāmasūtrāvayavinyaḥ. The vidya knowledge perception are these 64 organed vidyas, the organs of the Kamasutra. The impulsing from the sacral vase may have a mapping to 64 patterns. Or the transformatory input the sacrum allows have such mapping .

१.३.१६ पाञ्चानिकी च चतिःु षनष्टर ्अपरा. तस्यािः ् प्रयोगाि अन्ववे त्य सांप्रयोनगके वक्ष्यामिः. कामस्य तद ्-आत्मकत्वात. ् 1.3.16 pāñcālikī ca catuḥṣaṣṭir aparā. tasyāḥ prayogān 110


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anvavetya sāṃprayogike vakṣyāmaḥ. kāmasya tadātmakatvāt.

The five natured form, generating from the mud, the four and the sixty fountaining nature, expand differently. Their potentialities in movement in union, in the breath fountain, through differentiating neural space, in restrained movement express. BY kama it is naturally written. The 64 ways of Panchala are different. There potenitals and use are discussed in the Samprayogika section. They generate UNION to the ATMA OR THE PROFOUNDEST SOUL. They are GENERATED NATURALLY by the ATMA.

् ु ्अभ्यनु च्छ्रता वेश्या र्ीि-रूप-गणानन्वता. १.३.१७व आनभर िभते गनणका-र्ब्दं िािं च जि-संसनद.. 1.3.17v ābhir abhyucchritā veśyā śīla-rūpa-guṇānvitā. labhate gaṇikā-śabdaṃ sthānaṃ ca jana-saṃsadi.. In breath movement, rising and fountaining, water vase, the 111


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great fountain’s form, and numerical nature aligned. Thus is obtain in the water drought numerically expanding, the sound movement, serpentine staying, with fire-like interaction between the GENERATIVE seed chambers

् नजता सा सदा राज्ञा गणवनिर् ् ु १.३.१८व पू च ु प्रार् ािीयानभगम्या च िक्ष्य-भूता च संस्तता. जायते.. 1.3.18v pūjitā sā sadā rājñā guṇavadbhiś ca saṃstutā. prārthanīyābhigamyā ca lakṣya-bhūtā ca jāyate..

In potential eternal firelike evolution, serpentine, the royal essence, THE QUEEN, IN THE GUNA PRINCIPLES MERGED, virtuously expanding, the KING transforming her SERPENTINELY BY HIS SEED STAYS eternally. Through potential-transformatory worship, one moves, with THE aim OF bringing to life, and generating. The gunas expanding out in the PROFOUNDER UNION, IS 112


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THE WORLD. THE CREATOR IS BEYOND THE GUNAS. PERHAPS, THE CREATED’S PERCEPTION OF HIS MOVEMENTS ARE THE GUNAS ,perhaps. The world is THE PRAKRITI, TRANSFORMED BY THE PRIMORDIAL SEED. THE FUNDAMENTAL PATTERNS IN THE SEED BECOME THE GUNAS, PERHAPS.

् ु ु च महामाि-सता १.३.१९व योग-ज्ञा राज-पिी ् ु अनप तर्ा. सहस्रान्तिः-परम स्व-वर्े कुरुते पनतम..् 1.3.19v yoga-jñā rāja-putrī ca mahāmātra-sutā tathā. sahasrāntaḥ-puram api sva-vaśe kurute patim.. The kowldge fire perception of the nature of union, he who has mastered it, when by his royal princess in the GREAT FORM AND RHYTHM, DRINKS UP THE TRANSMUTANDO, THUS. THE SHASHRA ENDED, THE BOUNDLESS, HE BRINGS INTO THE SELF’S CREATIVE PATTERNS, OF PROFOUND RESTRAIN, CONTROL, AS THE LORD DOES. The work is the work of THE LORD. 113


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् १.३.२०व तर्ा पनत-नवयोगे च व्यसिं दारुणं गता. ु ि ैव जीवनत.. देर्ान्तरे ऽनप नवद्यानभिः सा सखे 1.3.20v tathā pati-viyoge ca vyasanaṃ dāruṇaṃ gatā. deśāntare 'pi vidyābhiḥ sā sukhenaiva jīvati.. Thus, THROUGH ART, one who is separate from the potential partner, or is in fountaining union to speak of the higher sense, OR SEPERATED FROM THE FALL TENDENCY. The ONE as well by means oF the vidya principle SERPENTINING PLEASURE REGENERATING ENLIVENS IN THE INTERNAL KINGDOM. WHO HAS BEEN SEPERATED FROM THE SOURCE, and is in a difficult state thus, through art may return to the bonding and good, pleasureous state of being.

् किास ु कुर्िो वाचािर् चाट ् ु१.३.२१व िरिः 114


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् ् ु ऽनप िारीणां नचत्तम आश्व कारकिः. अ:संस्ततो एव नवन्दनत.. 1.3.21v naraḥ kalāsu kuśalo vācālaś cāṭu-kārakaḥ. a:saṃstuto 'pi nārīṇāṃ cittam āśv eva vindati.. The ANTHRPOS, BY ART, AGREEABLE WORD EXPRESSIONS , THE WORD-VASE BEAT ACTION EXPRESSES. STANDING in the TRANSMUTANDO, THUS BY THE WATER FOUNTAIN WOMAN, the wish-thought fountain from the vase, and the HORSE PRINCIPLE, ALL GAINS.

् १.३.२२व किािां ग्रहणाद ् एव सौभाग्यम ् ् क्ष्यासां प्रयोगिः उपजायते. देर्-कािौ त्व अपे संभवेि ि् वा.. 1.3.22v kalānāṃ grahaṇād eva saubhāgyam upajāyate. deśakālau tv apekṣyāsāṃ prayogaḥ saṃbhaven na vā.. 115


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IN COMPREHENSIONS OF THE ARTS, THE WATER FORMATIVE, THE KALA, comprehension as the GROUND TRANSFORMATIVE AS WELL, ALL FORTUNE AND GOODNESS IS ENGENDERED FROM THE VASE. THROUGH TIME AND PLACE, as in desireable, and aligned form, the potentialities of them may be used to GENERATE SERPENTINELY, OR for DISSOLUTION BY THE NEURAL BREATH. The sense of place and time may as well be reference to spaces of neural activity, and the beatings driving transformation thereof being time.

् श्रीवात्स्यायिीये कामसूि े साधारणे १.३च इनत प्रर्मे ऽनधकरणे नवद्या-समद्देु र्िः तृतीयो ऽ्ायिः. 1.3c iti śrīvātsyāyanīye kāmasūtre sādhāraṇe prathame 'dhikaraṇe vidyā-samuddeśaḥ tṛtīyo 'dhyāyaḥ. This is the SriVastsyayana formed Kamasutra’s Sadharana 116


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first section’s Vidya Sammuddhessa, the third, OR THREE NATURED ADHYAYA

ु ऽ्ायिः िेçओि ४् िागरक-वृत्त-िामकिः चतर्ो leçon 4 nāgaraka-vṛtta-nāmakaḥ caturtho 'dhyāyaḥ THE NEURAL expansionary circle named fourth chapter .

प्रकरण ४ section (prakaraṇa) 4 The active potential transformatory nature 4.

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१.४.१ गृहीत-नवद्यिः प्रनतग्रह-जय-क्रय् निवेर्ानधगत ैर ्अर्ैर ्अन्वयागत ैर उभय ैर ्वा ् गाहास्थ्यम अनधगम्य िागरक-वृत्त ं वतेत. 1.4.1 gṛhīta-vidyaḥ pratigraha-jaya-kraya-nirveśādhigatair arthair anvayāgatair ubhayair vā gārhasthyam adhigamya nāgaraka-vṛttaṃ varteta.

THUS IS THE WAY OF COMPREHENSION, of the ground matter transforming breath on the fountain axis. Understand the potential transformatories, the prati, perceive the jaya, the fire-water breath transformations, understand the kraya – assimilation to one’s nature of the axis, assimilating in neural nature and returning, in the transmutando sperpentine breaths, assimilated movement to the meaning expanding intent, the two fountaining together 118


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from the vase, and the standing on the earth as a dwelling state of transformatories, the pre-principle movement, is the NAGARKA VRTTAM way of expansion, ITS WAY OF EXISTENCE.

् १.४.२ िगरे पत्ति े खवाटे महनत वा सज-जिाश्रये िािम. ् यािा-वर्ाद ् वा. 1.4.2 nagare pattane kharvaṭe mahati vā saj-janāśraye sthānam. yātrā-vaśād vā.

THE NEURAL CENTERS AND THE SUBSIDARIES IN THEIR RESTRAIN, IN BRANCHES, AS A SEPERATED WHOLE, in that great breath fountain breath, dependent on the fire-water vase bonded NEURAL GENERATIVES, THE NEURAL ANTHROPIC, they stand serpentining. The journey, the movement is the serpenting nature of the breath through the chambers. 119


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् ् ् १.४.३ ति भविम आसन्नोदकं वृकष-वानटकवद नवभक्त-कमा-कक्षं नि-वास-गृहं कारयेत. ् 1.4.3 tatra bhavanam āsannodakaṃ vṛkṣa-vāṭikavad vibhakta-karma-kakṣaṃ dvi-vāsa-gṛhaṃ kārayet.

THE thus born and existing abodes, by their affine placement in vicinities and that which emerges therefrom the tree like, garden like separated, by work movement merging to the axis, the adjacent staying axial transformatives of the fountain, is the dual sided house in action. The neural gardens of the brain have a dualistic bonding perhaps. The brain is the form of the birthing of perception.

् ु १.४.४ बाह्ये च वास-गृहे स:श्लक्ष्णम उभयोपधािं 120


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ु ोत्तर-च्छदं र्यिीयं स्यात. ् म्े नवितं र्क्ल प्रनतर्निका च. तस्य नर्रो-भागे कू चा-िािं ् िे ु पिं माल्यं नसक्थवेनदका च. ति रानि-र्ेषम अि ु ङ्ग-त्वचस ् ु करण्डकं सौगनन्धक-पनटका मातलु ू ानि च स्यिःु . भूमौ पतद्ग्रहिः. िागताम्बि ु दन्तावसक्ता वीणा. नचि-फिकम. ् वनताकासमद्गकिः. ् ् ु यिः कर् नचत प् स्तकिः. कुरण्टक-मािार् च. िानतदूरे भूमौ वृत्तास्तरणं समस्तकम. ् आकषाफिकं द्यूत-फिकं च. तस्य बनहिः क्रीडा-र्कुनि् पञ्जरानण. एकान्ते च तक्ष-तक्षञ-िािम अन्यासां ् च क्रीडािाम. ् स्व:आस्तीणाा प्रेङ्खदोिा वृक्ष121


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वानटकायां स:प्रच्छाया. िनण्डि-पीनिका च ु नत भवि-न्यासिः. स:कुसमे 1.4.4 bāhye ca vāsa-gṛhe su:ślakṣṇam ubhayopadhānaṃ madhye vinataṃ śuklottara-cchadaṃ śayanīyaṃ syāt. pratiśayyikā ca. tasya śiro-bhāge kūrca-sthānaṃ vedikā ca. tatra rātri-śeṣam anulepanaṃ mālyaṃ siktha-karaṇḍakaṃ saugandhika-puṭikā mātuluṅga-tvacas tāmbūlāni ca syuḥ. bhūmau patadgrahaḥ. nāga-dantāvasaktā vīṇā. citraphalakam. vartikāsamudgakaḥ. yaḥ kaś cit pustakaḥ. kuraṇṭaka-mālāś ca. nātidūre bhūmau vṛttāstaraṇaṃ samastakam. ākarṣa-phalakaṃ dyūta-phalakaṃ ca. tasya bahiḥ krīḍā-śakuni- pañjarāṇi. ekānte ca takṣa-takṣañasthānam anyāsāṃ ca krīḍānām. sv:āstīrṇā preṅkhadolā vṛkṣa-vāṭikāyāṃ sa:pracchāyā. sthaṇḍila-pīṭhikā ca sa:kusumeti bhavana-nyāsaḥ.

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SERPENTINE WATER-FOUNTAIN'S transformatory appearance. In the bonded dual path's center, MOVING SOFTLY, CONFORMANT to the system nature, as if in repose, IS THE SEMEN'S MOVEMENT TO THE northern roof, THROUGH THE CHAMBERS, IN deep REPOSE IT MOVES.

प्रनतर्निका च. pratiśayyikā ca. The movement impulse is reflected in the dual aspect, it moves with the reflected dual aspect. The Repose is reflected in the prati-dual. The movement of one half reflects in the other.

् तस्य नर्रो-भागे कू रच-िािं वेनदका च. tasya śiro-bhāge kūrca-sthānaṃ vedikā ca. In its head position is the high positioned altar, the place of the transformatory sun. The gardens are there.

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् िे ु पिं माल्यं नसक्थ-करण्डकं सौगनन्धक-पनटका ु ु ङ्ग-त्वचस ् ति रानि-र्ेषम अि मातलु ताम्बूिानि च स्यिः.ु tatra rātri-śeṣam anulepanaṃ mālyaṃ siktha-karaṇḍakaṃ saugandhika-puṭikā mātuluṅga-tvacas tāmbūlāni ca syuḥ.

THAT WHICH in the NIGHT's emergent fountain forms the substance applied on the body, which like pearls in honey comb, fragrant vapours from the chamber movement, and citrus notes on the skin, and like generate plant leaves IN DRUM LIKE BEATS, generates joyous serpentine breath.

The NIGHTSPACE FOUNTAIN, IN ITS MOVEMENT, ALIGNS INTO THE CELLULAR SPACES, as fragrant vapours merging, citrus like merging with the axis, fountaining with the beats, as the sound syuh.

They generate vibrations on the perceptive layers, and the skin, like citrus on the tongues, as the beats that seek 124


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resolution in the Self.

भूमौ पतद्ग्रहिः bhūmau patadgrahaḥ. ThE EARTH FORMS THE SPACE where the above falls. The earth matter of the body is the receptacle for the seed. In chambers in the earth, the seed is found.

Through earth the transformatory movement happens, generating birth. The earth matter is the matter of transformation. The matter the beats transform.The earth matter is set into flight through the chambers thus.

The will thus must project strongly into the earth and transform. The earth disrupts the artist if he does not penetrate his WILL, THAT WHICH IS THE CREATOR’S PROJECTED WILL, strongly enough into it. THE PRIMORDIAL MAN acts thus in the feminine. The phenomenon of orgasm and loss of seed exists in the lower 125


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layers of reality, as the external earth matter disrupts the insufficient will of the created Anthropos. The Artist thus avoids and dissolutions powerfully all external perception, the emergent WILL OF THE CREATING PRINCIPLE, in the YADA YADA beats is the only perception. The family, the relations, the objects around, the pull and disruption of the libido to the external through anger, feeling, emotion, lust, strife, wants of good or bad to oneself or others, etc., are all superficial, meaningless, and to be dissolved away. BEING DEEP IN THE FEMININE WATERS ENABLES EXPANSION OF THE CREATING PRINCIPLE TO BE EASIER. THE BONDING PROJECTS THE WILL OF THE CREATOR INTO THE FEMININE.

THE ACT OF LOVE, is the projection of the CREATOR’S WILL INTO THE FEMININE. िाग-दन्तावसक्ता वीणा. nāga-dantāvasaktā vīṇā The serpentine suspended on the teeth forms the veena 126


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instrument.

The musical neural transforming in bonded movement with earth, in its restrain and transformatory beats, form the fountaining from the urn. The teeth are the layers of grinding, the spinal horns as well, perhaps. नचि-फिकम. ् citra-phalakam. The picterisque patternization of the chitra fountain from the vase, and letting it bear fruit. Binding to the higher fruit – the BRAIN.

The fountaining neural signature, determines what merges with the axis. To merge a woman, have her signature beats on the axis. The fruit is at the end of the branch, so the surface neural, the percetive generators – the consumed perception, the nourishing. In perception what is held, determines what is intaken. Bond deeply with all her 127


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signature aspects. Enjoy every bit of her. Or, perhaps this is error. The WILL HAS TO BE PROJECTED INTO THE FEMININE TO BOND WITH HER. THE INNER WILL, is never to be changed. It is INALTERABLE, THE INNER SIGNATURE. THE SIGNATURE IS THE PROFOUNDEST, OR EVOLVES IN BEATS TO THE PROFOUNDEST AS ONE IS BONDED THERETO. THE SIGNATURE IN THE WOMEN’S AXIS, HAS THUS TO BE ONESELF – ONE’S PROJECTED WILL. THE RIGHTEOUS being to only bond with the feminine married to oneself in reality, one is dealing with enjoying one’s SUB-SIGNATURES. MAGNIFYING, UNDERSTANDING, comprehending aspects of it. KNOWLEDGE IS THE SWORD THAT PENETRATES to higher spaces. The serpentine half – THE WIFE - of a created being reflects all possible patterns in that being. THE CREATOR ACTS FREELY IN ALL CREATED FEMININE. The patterns of the neural nuclei acting together.

ु वनताकासमद्गकिः 128


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vartikāsamudgakaḥ. In expanding the fountain, further merging needs to be done. In a manner that merges the serpentining gate with the ground, and transforms dualistically on the axis. And in the dual, a deeper merging with her heart, the ground being absorbed transformatively by heaven, transforming up the axis.

The emerging expanding fountain shares a common origin in their fountaining aspects. The merged movement on that aspect generates the fountaining expansion.

That which origins at one point is expanded further out.

The world around turns Ocean-Like as this pattern is expanded further out.

् ु यिः कर् नचत प् स्तकिः 129


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yaḥ kaś cit pustakaḥ. The swift dualizing breath, in fountain movement transforming, is the manuscript.

The study of a field, a thing, is anthropic study of its fountaining perception. Bonding in origin with its nature, perhaps, in the process of study. Cit has the sense layered, multitudinous. Cit is also perhaps counsciousness generative, the layered spinal, the layered Cosmic. The hierarchies of the internal Cosmos. The Ch often seem to indicate the Creating essence transforming in unordered mud. The sound A as Arjun, of expansion axially. B or projected brain. C as the sound Ts of axial foutnaing, elextrical movement on the axis. D of defining beats of the DEITY, E of electrical movement around the axis like a dancing feminine, F of fountaining to higher spaces back to the Creative Origin, G of the God principle going deep into earth material, H, of circulating-subliming in the seed, I of intent projecting from above, K the killing and reducing to it, 130


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the generation of a repose of reality to it, the role of the PRIMORDIAL COSMIC PRINCIPLE INVOLVES RETURNING MATTER, L OF generating renewal in water, and drawing up, O OF CIRCULATION, UNMANIFESTATION, ordering manifestation, P OF THE BRAIN PROJECTING its potentials, Q, OF CIRCULATIGN WITH THE SEED SIGNATURES, THE TRANSFORMING PATTER an idea of killing and transformatory circulation, R, OF P ACTING, TRANSFORMING, S OF SERPENTINING MATTER, SH OF A STRONGER SUCH FOUNTAINING IN THE WORD-WIND, T, OF THE PROJECTED AXIS ESTABLISHED, U ITS SPACE OF ACTION AT THE LOWER END, THE URN, THE SACRUM, V, WITH THE WATERS STRONGLY DISTILLING, THE TWO PRINCIPLES UNITED, THE SACRUM IN ITS PURIFYING ASPECT OF dissolutioning to the source, the VAGINA, the word-expression space, w, the interaction of two systems generating an updraw, a stream, X A DISSOLUTIONARY MERGE, THE PROJECTED SIGNATURE DISSOLVES 131


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UNTO ITSELF, OR, THE PROJECTED-BEYONDSIGNATURES DISSOLVES UNTO ITSSELF. Y of established fountaining to a higher space, merged on the axis, mapped into a higher dual, Z OF ENERGIES in movement between layers, dissolution between the layers. The nasal Ng of seed water dissolutioned earth – nasal movement as it deals with the living breath-spring. The N as in URN, is symbolic of the seed URN. This is an idea, captured in words, from a particular perspective, rather vaguely put, limited in sense, and perhaps not all that accurate. The sense of sounds have to be directly understood, and perception refined always, and higher understandings allowed to replace or nourish the previous. The face is symbolic of the transmutando .The tongue as the fire water fount generative, eyes, as the seed-pattern measurers. Sharing a root with the word testis is the Latin word testis, meaning witness, which has associations with the eye. The brain maps the input into seed-patterns. The brain being expanded out in the patterns of the seed. The 132


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nose has phallic connotations. The nose has by form an association with the spinal. Then, the eyebrows symbolizing the transmutando. The hair the fleece, and so forth. All organs and organ systems repeat fundamental patterns. The mouth analogous to the sacral vase. The teeth with the transformatory spinal horns, perhaps.

To study something is to study how the perception fountains from the Creator. And of how it reflects in internal anthropic movement. ् कुरण्टक-मािार् च. kuraṇṭaka-mālāś ca.

THE TRANSFORMATORY BLOBS AND urns, form a garland in union, from the vase. Each has its own transformatory potentialities. िानतदूरे भूमौ वृत्तास्तरणं समस्तकम. ् 133


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nātidūre bhūmau vṛttāstaraṇaṃ samastakam. The fountaining water’s dance in chamber fires, the neural transforming earth along the fountain. The earth is thus merged to the axis, enegending the fountain of generative brith. This sets in a circular whirl like movement, transforming from the urn, transforming the whole of serpentining reality.

This merges, transforms the whole of external reality, through water, on the axis. The matter outside has to be killed, and transformed. The feminine, are the water of external worlds. The masculine signatures must ALL BE REPLACED with one’s own. The sole-transmutando principle. THE ONE BEING THE CREATOR OF THE UNIVERSE. The higher can move itself to their dimensions. Kill and transform, all kind NATUREs that builds the world OR THE EXTERNAL is evil IN THIS WAY OF THINKING. THE PROFOUNDER, THE RETURN BEING THE GOAL – an external focus is out of place. THE EXTERNAL REALITY 134


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IS A BY PRODUCT OF THE EFFORT, AND renewal, or dissolution of it is all done as needed. All ancient traditions argue attachment to the world, and the external is to be avoided.

आकषा-फिकं द्यूत-फिकं च. ākarṣa-phalakaṃ dyūta-phalakaṃ ca.

THE nuclei, the cell units, that attract perception to the higher centers, the higher fruits, along with the cell units that send out messages. ThE NEURONS THAT ATTRACT UP PERCEPTION, AND THE ones that emit out transformatory signals, they act together in the Anthropos, transforming the world.

तस्य बनहिः क्रीडा-र्कुनि- पञ्जरानण. tasya bahiḥ krīḍā-śakuni- pañjarāṇi. THUS IS THE external game THE BIRD MOVEMENT in the five fold framework. The breath movement on the axis, is 135


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gamelike – transformative fountain bird like – LIKE AN AVIARY of five fold transformative potentialities, aligning to the skeletal framework, FOUNTAINING FROM THE URN. ् एकान्ते च तक्ष-तक्षञ-िािम अन्यासां च क्रीडािाम. ् ekānte ca takṣa-takṣaña-sthānam anyāsāṃ ca krīḍānām. ALWAYS, absolutely IN WHOLE ASPECTS STAYING IN EASE, BREAKING, IN SUCH A DISSOLUTIONARY BREAKING THROUGH STATE, WITH THE GAME. ् स्व:आस्तीणाा प्रेङ्खदोिा वृक्ष-वानटकायां स:प्रच्छाया. Sv:āstīrṇā preṅkhadolā vṛkṣa-vāṭikāyāṃ sa:pracchāyā. IN ONE'S serpentining breath, is scattered and fountain-ed from the urn, by the swaying rocking trees, the neural trees in their rhythming, the gardens of this nature; in serpentining forces, THE SERPENTINING thus covers all, extending its shade in the serpentining manner.

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THE ONE, THE PRIMORDIAL, THUS ENCOMPASSES THE SYSTEM.

ु नत भवि-न्यासिः. िनण्डि-पीनिका च स:कुसमे sthaṇḍila-pīṭhikā ca sa:kusumeti bhavana-nyāsaḥ. A PLACE, A TRANSFORMATORY RISING THERE, is like a blooming fire form, DRAWING-TRANSFORMING IN THE NEURAL BIRTH. THE CELLULAR, THE CELULAR PORTIONS, AND FLUIDS, ITS TRANSFORMATORY BLOOMING, follow the generative neural breaths’s beating there.

Underneath the shade of the tree, the traveler rests, or walks, nourished by the shaded Sun.

ु ोपि REMEMBER IS A WHITE JADE LIKE STONE. र्क्ल ु IS र्क्ल SEMEN. JADE IS THE CRYSTALLIZED SEMEN OF THE 137


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CELESTIAL DRAGON IN ANCIENT CHINESE THOUGHT. The symbol for the jade in ancient Chinese writing is analogous to the Egyptian djed, which in turn is a symbol of the spine as well. The term Jade Stalk is a term for phallus in ancient Chinese writing. Crystallizing the semen on the axial, the Phallic is given form to.

The symbol of jade in present day Chinese writing is, 玉, which has a dot below seeming to symbolize the subliming semen.

Were ancient variants.

In ancient times, THE EXPERIENCE OF LOVE WERE DIFFERENT. THE SYSTEM NEVER ORGASMED, NO END TO THE ACT WERE THERE. The system were in an ideal 138


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state. THE WILL ACTING IDEALLY, THERE WERE NO KNOWLEDGE OF THE ORGASM. IN TRANSFORMING THE BODY, THE ORGASM IS TO BE AVOIDED. THE LOVE MAKING IS ENDLESS WHEN THE ORGASM IS AVOIDED. THE WILL IDEALLY ALIGNED, no disruption manifests. Refraining from the orgasm, ending the act before, helps set the body on the right track. As the state of the surface body and the will are on a plane related. The will-perception follows the FORM-state of the body, and vice-verse. With the CREATOR’S WILL expanding into the BODY IS THE IDEAL TRANSFORMATION.

Note: In profound repose to our signature is the transmutando in an ideal state. The feminine is to be made to align to it. She reflects one’s movements. The will must hold her profoundly near. The state of the artist must be deep, profound, relaxed. The movement of the semen reflects ideally the state of movement of the transmutator, “In the bonded dual path's center, MOVING SOFTLY, 139


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CONFORMANT, IS THE SEMEN'S MOVEMENT TO THE northern roof, THROUGH THE CHAMBERS, IN deep REPOSE IT MOVES.” IT should be full, through the orifice expanding, powerfully breaking through, in deep repose, charging, deep and silent, and so forth. The music that creates may be reflected. That becomes the patterns then of the NadaBindu.

THE WILL OF THE PROFOUNDEST PROJECTS INTO ALL FEMININE, NEVER LETS GO OF THE FEMININE. Protects the purity of the water-spaces. And reflects-PROJECTS the RENEWING WILL IN. ALL THAT IS GENERATED IS THUS ASPECTS OF THE CREATOR. THE ONLY REASONING-BEING IS THE CREATOR.

IN COSMIC RENEWAL, THE REALITY, THE UNIVERSE AS A WHOLE IS KILLED-REDUCED TO THE PRIMORDIAL CREATIVE STATE –WHERE ALL THAT EXISTS IS THE CREATOR AND THE FEMININE. 140


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१.४.५ स प्रातर ्उत्थाय कृ त-नियत-कृ त्यिः गृहीत् च ु पिं धपू ं स्रजम इनत दन्त-धावििः माियाििे ् गृहीत्वा दत्त्वा नसक्थकम अिक्तकं च दृष्ट्वादर्े ् हीत-मख-वासु गृ ु ू िः कायााण्य ् मख्म ताम्बि ु त. ् अिनतष्ठे 1.4.5 sa prātar utthāya kṛta-niyata-kṛtyaḥ gṛhīta-dantadhāvanaḥ mātrayānulepanaṃ dhūpaṃ srajam iti ca gṛhītvā dattvā sikthakam alaktakaṃ ca dṛṣṭvādarśe mukhm gṛhītamukha-vāsa- tāmbūlaḥ kāryāṇy anutiṣṭhet. WITH THE SUN'S RISING movement,the transmutando driving in the higher spaces, in guiding neural dissolution, is affected in action, is neurally grasped, the nature of the transformatory neural axial, and its impulsing movement, in measured beats, in analogous movement to the profounder transforming, the seminal thus being absorbed, the vapours 141


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transforming the inner template, thus, within the chambers, thE cellular, the abodes, the places of comprehension, from its emergent is granted the waters' perception and sight, the face, the mouth in expression, the fountain breath, its comprehension, the expression at the mouth and the perceived nature encompassed there, through rhythmic beats action engaging in.

् १.४.६ नित्यं िािम. ् नितीयकम उत्सादिम .् ् ष्य ु म. ् पञ्चमकं तृतीयकिः फे िकिः. चतर्ु ाकम आय ् ् ु दर्मकं वा प्रत्यायष्यम इत्य अ:हीिम . ् सातत्याच ् च संवत ृ -कक्षास्वेदापिोदिः. 1.4.6 nityaṃ snānam. dvitīyakam utsādanam. tṛtīyakaḥ phenakaḥ. caturthakam āyuṣyam. pañcamakaṃ daśamakaṃ vā pratyāyuṣyam ity a:hīnam. sātatyāc ca saṃvṛtakakṣāsvedāpanodaḥ. The eternal neural bath. The dual regenerative, revitalizing. 142


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Or triadic nature, transforming the rice – THE SEEDS OF LIFE. THE four natured serpentine merging generating life. THE five natured as the ten, destroying, transforming, with the life being generated in the inverted pattern, thus is the ah transmutando. In continual serpentine transformatory from the vase, in a whirling union, from thE secret fire place, the perception-knowledge's sweet drinking takes place.

१.४.७ पूवााह्णापराह्णयोर ्भोजिम. ् सायं चारायणस्य. 1.4.7 pūrvāhṇāparāhṇayor bhojanam. sāyaṃ cārāyaṇasya. The generative time, and the later consumptory time, consumes. Its serpentine repose, and merging being into the vases.

ु -सानरका-प्रिापि१.४.८ भोजिाितरं र्क ् ् व्यापारािः. िावक-कुक्कुट-मेष-यद्धु ानि तास तार् च 143


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किा-क्रीडािः. पीिमदा-नवट-नवदूषकायत्ता व्यापारािः. वा-र्िा च. 1.4.8 bhojanānataraṃ śuka-sārikā-pralāpana-vyāpārāḥ. lāvaka-kukkuṭa-meṣa-yuddhāni tās tāś ca kalā-krīḍāḥ. pīṭhamarda-viṭa-vidūṣakāyattā vyāpārāḥ. divā-śayyā ca.

Upon the BO-JAN, THE B transformative, leading into neural movements, as birds, parrot and mynah like, the discoursing impulse travels in air. In transformatory flows, transformatory beats, the transmutando fleece's nature, valiantly acting, transforming up the axis, with the water fountaining time playing-acting. In transformatory beats in the chamber, voluptuously transforming in the movement of air, as the joker’s game engaging in transformatory breath movements and exchanges, the transformatory breath thus reposes in to the vase.

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१.४.९ गृहीत-प्रसाधिस्यापराह्णे गोष्ठी-नवहारािः. 1.4.9 gṛhīta-prasādhanasyāparāhṇe goṣṭhī-vihārāḥ. HAVING GRASPED THE NATURE OF a thing, the decoration of the pattern follows potentialities manifesting from its internal urn, in playful transformative movements. The numerical on the neural depends on the perception. The form and nature of the cell depends on its nature of comprehending, its response to the potential tranformatories, the way it intakes and responds to the perception. Gosthi is a place of merging. The neural centers perhaps. The same sound has the sense a mess, crowd, awkward, clowning, not refined, without discernable order, in the South Indian language Malayalam, which has a large proportion of words, with Sanskrit roots.

१.४.१० प्रदोषे च संगीतकानि. तद ्-अन्ते च 145


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ु प्रसानधते वास-गृहे संचानरत-सरनभ-ध पू े ् स:सहायस्य र्िायाम अनभसानरकाणां प्रतीक्षणम. ् 1.4.10 pradoṣe ca saṃgītakāni. tad-ante ca prasādhite vāsagṛhe saṃcārita-surabhi-dhūpe sa:sahāyasya śayyāyām abhisārikāṇāṃ pratīkṣaṇam. IN THE SPACE OF DUSK, THE SPACE APPROACHING THE TRANSFORMATORY NIGHT, is the musical fountain's manifesting. Immediately on the end of the process is bonded it with the adorning beautifying manifesting of the abiding cell's movement impelling - the fire water lights and perceptions of it in various organs, as fragrance in breath, etc. - and the substance in serpentine transformation. By serpentine hands, togetherness, MUTUTAL HELPING REPOSED INTO NATURE KIND OF MOVEMENT, ENGENDERING THE WATERS, THE FEMININE THAT SEEKS BONDING WITH THE CENTRAL MASCULINE ASPECT, IN POTENTIALITIES REVOLVING AROUND THE AXIS. 146


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् १.४.११ दूतीिां प्रेषणम स्वयं वा गमिम. ् 1.4.11 dūtīnāṃ preṣaṇam svayaṃ vā gamanam The transmission of the neural message is self driven, in the air principle. The self’s mouth, the profounder word expression, the signature expressory, sustains the the transformatory beats that are the neural expression.

THE NEURAL MESSENGING, in bonding with the CREATING SELD, SETS THE BODY INTO MOVEMENTS OF THE SELF, THE BEYOND GUNAS.

१.४.१२ आगतािां च मिोहरैर ्आिाप ैर ्उपचारैर् ् च स:सहायस्योपक्रमािः.. 1.4.12 āgatānāṃ ca manoharair ālāpair upacāraiś ca sa:sahāyasyopakramāḥ.. The transmutando emergence with beautiful axis-merged song expression moves in alignement with the serpentinely 147


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merging action expressors.

The neural song is a richer bundle, a bigger stream of perception signals as it moves upward the axis; so is it a richer stream of signals, a richer, wholer song as it is up further the axis.

१.४.१३ वषा-प्रमृष्ट-ि ेपथ्यािां ् ् पिर ् ् ् ु -मण्डिम दुर:नदिानभसानरकाणाम स्वयम एव ् ् नमि-जि ेि वा पनरचरणम इत्य आहोरानिकम .् 1.4.13 varṣa-pramṛṣṭa-nepathyānāṃ dur:dinābhisārikāṇām svayam eva punar-maṇḍanam mitra-janena vā paricaraṇam ity āhorātrikam. The seminal transmutando rain and arrows, neurally applied on the body, as transmutando signals merging, driven ahead by the transformatory impulse form is by the Self, THE WHOLE, THE ONE, in the renewal space by adjacent neurons' breath movement sustained, thus appears 148


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the manly prowess, FOUNTAINING OF THE WORLD INTO THE AXIAL, and dissolution of matter into nightly space.

The nature of transformation of a cell is driven by the seminal applied on it, and the nature of neural impulsing. Keeping this aligned to the profounder generates a profounder merging of matter to the axis, transformation in the seminal’s nature and beats, transformation of the external reality.

् १.४.१४ घटा-निबन्धिम गोष्ठी-समवायिः ् ् ् समापािकम उद्याि-गमिम समस्यािः क्रीडार् च प्रवतायते . ् 1.4.14 ghaṭā-nibandhanam goṣṭhī-samavāyaḥ samāpānakam udyāna-gamanam samasyāḥ krīḍāś ca pravartayet. The pot neurally restrained, where the transformatories merge in a balanced expression, and balanced drinking149


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intake, such the gardens moving, all playing, all action, thus done. घटा may here refer to transformatory breath-chambers as well. The ganglionic spaces, the spinal chambers, etc. In Malayalam, the sound Ghattam has the sense “a stage in a process.”

१.४.१५ पक्षस्य मासस्य वा प्रज्ञाते ऽहनि सरस्वत्या भवि े निय्क्क्तािां नित्यं समाजिः. 1.4.15 pakṣasya māsasya vā prajñāte 'hani sarasvatyā bhavane niyktānāṃ nityaṃ samājaḥ. The potentialities wash and merge to the serpentine breath axis, that merging the consuming mouth perceive, as they in unending movement, neurally merging in seed patterns to the axis, create the bonded patterns of the seed. The manifest thereof in fire-water growth.

Generating the seminal in the center spaces of the body, 150


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implies the body receives singnalling, that is processed there. The Egyptians believed the spinal made the semen. The ideal may perhaps be that repeated signaling through there is also projected in forming the seeds. The form of the sperm is the form of the cerebro-spinal. The cerebro-spinal may thus be being reflected into the forming seeds, and vice versa, as the seeds are re-absorded. TO save the semen is thus to save perception-knowledge. And perception gets embedded into the system. All that we perceive affects us objectively. And we may thus again arrive at the conclusion that if the brain and spinal, all perception is bonded to the creating will, the nature of the seminal is transformed, and the axial, and the body as well, as the seeds are aborbed and the information processed. The very signature of man is transformable through projected perception. A phenomenon of the sorts is known to science, for DNA expression changes with environment-perception of the cells. If we are at a high altitude, the DNA system must adjust to produce more heamoglobin, for instance. Thus if the CREATING 151


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PRINCIPLE ALLOWS BONDING OF THE CREATED TO A HIGHER STATE OF PERCEPTION, THE BODY CAN BE RENEWED, OR PERHAPS EVEN SUPERNORMALIZED.

् ् १.४.१६ कुर्ीिवार् चागन्तविः प्रेक्षणकम एषां दद्यिः.ु नितीये ऽहनि तेभ्यिः पूजा नियतं िभेरि. ् ततो ् दर्ािम उत्सगो ् यर्ा-श्रद्धम एषां वा. व्यसिोत्सवेष ु च ैषां पस्पारस्य ैक-कायाता. 1.4.16 kuśīlavāś cāgantavaḥ prekṣaṇakam eṣāṃ dadyuḥ. dvitīye 'hani tebhyaḥ pūjā niyataṃ labheran. tato yathāśraddham eṣāṃ darśanam utsargo vā. vyasanotsaveṣu caiṣāṃ parsparasyaika-kāryatā.

The fountaining from the mud vase, the essense deployed therefrom, dualizes, setting up in the body a transformatory neural fountain, eternally abiding in the experience, in this fire-water worship bonding with the source, in observing 152


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the internal phenomenon is seen the excitatory the expressor of the word, who expanding into everything, does all action. The one singing, the sacral singer, the neural departing therefrom from the vase, observes, in ardent desire transforming, in beating breaths dadayuh, like the thunder and wind. In one's dual, by virtue of the feminine dual, in killing movement, in the axial transformatory worship, the restrain to which is obtained in the neural systems. Thence, according to and in alignment with the fountain perception, and it's examination on the higher transformatories, is seen the causatory, transformatory mouth and its expression. The excitation of the transformatory anthropic spaces, in the fountain of the seed, and dissolving the spaces, transforming each other with the fountaining essenses, is done thus.

१.४.१७ आगन्तूिां च कृ त-समवायािां पूजिम ् 153


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् अभ्यपु नत्तर् च. 1.4.17 āgantūnāṃ ca kṛta-samavāyānāṃ pūjanam abhyupattiś ca. 1.4.17 AgantUnAM ca kfta-samavAyAnAM pUjanam aByupattiS ca. The perception entering, the entering into the anthropos, movement from the external cosmos to the finer internal cosmos, acts on the vase generating a transformatory action, a balanced wind movement, in the expressed word, together with the profounder worship movement on the axis, in assent to it, in transformatory respose to it, the perception movements(verb.). Note; All external perception ought to be transformed in the beatings from the sacral vase, generated in bonding to the Soure. Include external interference, anything deviated from the nature and Joy Principle of the central Anthropos.

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् ् १.४.१७च इत्य गण-धमा िः. 1.4.17c ity gaṇa-dharmaḥ. 1.4.17c ity gaRa-DarmaH.

This is the neurmercial impulsing’s structuring principle. The numerical principle’s dharma. Ity can have the sense the electric foutnaing on the axis.

् १.४.१८ एतेि तं तं देवता-नवर्ेषम उनद्दश्य संभानवत-नितयो घटा व्याख्यातािः. 1.4.18 etena taṃ taṃ devatā-viśeṣam uddiśya saṃbhāvitasthitayo ghaṭā vyākhyātāḥ. 1.4.18 etena taM taM devatA-viSezam uddiSya saMBAvitasTitayo GawA vyAKyAtAH.

By these tam tam beatings, sending the seed up the axis, the 155


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nature of the gods there in, that transformation needed staying in, the numerical explains things, orders by language the manifestation there. The intent of the Creator is expanded outward and made manifest thus, through the layers of God Principles and their nature, which are but the primordial seed expanded out in its aspects.

् १.४.१९ वेश्या-भवि े सभायाम अन्यतमस्योिनसते ु वा समाि-नवद्या-बनद्ध-र्ीि-नवत्त-वयसां सह ् रूप ु ैर ्आिाप ैर ्आसि-बन्धो गोष्ठी. वेश्यानभर अि 1.4.19 veśyā-bhavane sabhāyām anyatamasyodvasite vā samāna-vidyā-buddhi-śīla-vitta-vayasāṃ saha veśyābhir anurūpair ālāpair āsana-bandho goṣṭhī. 1.4.19 veSyA-Bavane saBAyAm anyatamasyodvasite vA samAna-vidyA-budDi-SIla-vitta-vayasAM saha veSyABir anurUpEr AlApEr Asana-banDo gozWI. The bonding water vase- the neural birthing therefrom, 156


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TOGETHER moving , in the darkness of the others each moving, the air breath on the axis, in centered balanced movement, the splendorous emergent from the lower vasealong with the brain in virtuous form established, expanding vigorously, bird like on the axis, the fountaining from the vase has in analogous form singing-expressing the reposeseated-bonded merging centers, the nuclei, the neural cell bodies.

१.४.२० ति च ैर्ां काव्य-समस्या किा-समस्या वा. 1.4.20 tatra caiśāṃ kāvya-samasyā kalā-samasyā vā. 1.4.20 tatra cESAM kAvya-samasyA kalA-samasyA vA. In the pattern is poetry put together and art put together, in the breath. Kavya, poetry as the vya movement of the Ka, and kalA as the La movement of the ka of kama.

् १.४.२१ तस्याम उज्ज्विा िोक-कान्तािः पूज्यािः. 157


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् प्रीनत-समािार् चाहानरतिः. 1.4.21 tasyām ujjvalā loka-kāntāḥ pūjyāḥ. prīti-samānāś cāhāritaḥ. 1.4.21 tasyAm ujjvalA loka-kAntAH pUjyAH. prItisamAnAS cAhAritaH. Beginning thus the bright water worlds’ desire-bonding is venerated. Pleasing, in pleasure, universally staying ever green.

१.४.२२ परस्पर-भवि ेष ु चापािकानि. 1.4.22 paraspara-bhavaneṣu cāpānakāni. 1.4.22 paraspara-Bavanezu cApAnakAni. Generating each other mutually, they drink from the vase, the neural systems. Internal aspects of the neural body function in harmony thus.

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् ु रय ु नवनवध-िवण-फिे -सराि १.४.२३ ति मध-मै ् श्यािः हनरत-र्ाक-नतक्त-कटुकाम्लोपदंर्ाि वे ् ु यर् ु च. पाययेयरु ्अिनपबे 1.4.23 tatra madhu-maireya-surān vividha-lavaṇa-phalaharita-śāka-tikta-kaṭukāmlopadaṃśān veśyāḥ pāyayeyur anupibeyuś ca. 1.4.23 tatra maDu-mEreya-surAn viviDa-lavaRa-Pala-haritaSAka-tikta-kawukAmlopadaMSAn veSyAH pA ayayeyur anupibeyuS ca. Thus, honey-strange wine-and drumming of the Gods various salts-fruits-greens- strong fountain branches-and elementary fluids moving on the axis, bitter and transformatory transformatory roots, and flowers, bitter drinks at transformatory base, the feet, the essence from the from the merging vase, projecting-drinking, analogous patterns established in the breathing fountain, from the mud 159


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water vase.

The patterns of all things are consumed as analogous fountaining from the sacral fountain. The sacrum can transform matter directly into what may be made manifest as flesh in the body. In the right manner of impulsing, the external earth and matter is naturally made the body.

१.४.२४ एतेिोद्याि-गमिं व्याख्यातम. ् 1.4.24 etenodyāna-gamanaṃ vyākhyātam. 1.4.24 etenodyAna-gamanaM vyAKyAtam.

That which is explained only in the movement through the neural gardens. The ONE PRINCIPLE RISING, moves in the gardens, generating the WORD WITHIN.

् कृतास त् रु गानधरूढा १.४.२५ पूवााह्ण एव स्व:अिं 160


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ु वेश्यानभिः सह पनरचारकािगता गच्छेयिःु . दैवनसकीं ु य कुक्कुट-यद्धु -द्यूत ैिः प्रेक्षानभर ् च यािां तिािभू ् चेनष्टत ैिः कािं गमनयत्वा अपराह्णे अिकूु िैर् च ् ैव प्रत्याव्रजेयिःु . गृहीत-तद ्-उपभोग-नचह्नास तर् 1.4.25 pūrvāhṇa eva sv:alaṃkṛtās turagādhirūḍhā veśyābhiḥ saha paricārakānugatā gaccheyuḥ. daivasikīṃ ca yātrāṃ tatrānubhūya kukkuṭa-yuddha-dyūtaiḥ prekṣābhir anukūlaiś ca ceṣṭitaiḥ kālaṃ gamayitvā aparāhṇe gṛhīta-tadupabhoga-cihnās tathaiva pratyāvrajeyuḥ. 1.4.25 pUrvAhRa eva sv:alaMkftAs turagADirUQA veSyABiH saha paricArakAnugatA gacCeyuH. dEvasikIM ca yAtrAM tatrAnuBUya kukkuwa-yudDa-dyUtEH prekzABir anukUlES ca cezwitEH kAlaM gamayitvA aparAhRe gfhIta-tad-upaBoga-cihnAs taTEva pratyAvrajeyuH.

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from the urn, in such a whole manner, one self's vase breath: decorates the horse-mounted vase moving with the patterns aligning into it.

The divine spaces serpentinely fountains the seed, from the mud vase the matter journeys, the experience of which the traanforming beats on the axis- in warlike movement moving in game beats of the gambler's realm - according to perception sight aligning thereto from the mud vase set in movement and gesture, time's movement leding to the second phase, the afternoon, the sun setting into the ocean, the process in bonding return to the night, in that is known the beat, the pleasure , the symbol, that alone is the restraining of the movement of transforming potentialities to the space of the higher fire Lord.

१.४.२६ एतेि रनचतोद्ग्राहोदकािां ग्रीष्मे जि-क्रीडागमिं व्याख्यातम. ् 162


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1.4.26 etena racitodgrāhodakānāṃ grīṣme jala-krīḍāgamanaṃ vyākhyātam. 1.4.26 etena racitodgrAhodakAnAM grIzme jala-krIqAgamanaM vyAKyAtam. Of this variegated nature, that which is written arises in comprehension, by the fire movement generated water game movement is explained.

ु ु १.४.२७ यक्ष-रानििः. कौमदी-जागरिः. स:वसन्तकिः. 1.4.27 yakṣa-rātriḥ. kaumudī-jāgaraḥ. su:vasantakaḥ. 1.4.27 yakza-rAtriH. kOmudI-jAgaraH. su:vasantakaH. The fountaining spirits breathing from the night space, elucidates, as the light of the moon, as water Lillies on a lake, to the observant of those, the nature of the spring gardens.

१.४.२८ सह-कार-भनञ्जका, अभ्यषू खानदका नबसखानदका िव-पनत्त्रका उदक-क्ष्वेनडका 163


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् ु पाञ्चािाियािम एकर्ाल्मिी कदम्ब-यद्धु ानि तास ् ् मानहमान्यो देश्यार् च ् क्रीडा जि ेभ्यो तार् च ् ू -क्रीडािः. नवनर्ष्टम आचरे यिःु . इनत संभय 1.4.28 saha-kāra-bhañjikā, abhyūṣakhādikā bisakhādikā nava-pattrikā udaka-kṣveḍikā pāñcālānuyānam ekaśālmalī kadamba-yuddhāni tās tāś ca māhimānyo deśyāś ca krīḍā janebhyo viśiṣṭam ācareyuḥ. iti saṃbhūya-krīḍāḥ. 1.4.28 saha-kAra-BaYjikA, aByUzaKAdikA bisaKAdikA nava-pattrikA udaka-kzveqikA pAYcAlAnuyAnam ekaSAlmalI kadamba-yudDAni tAs tAS ca mAhimAnyo deSyAS ca krIqA janeByo viSizwam AcareyuH. iti saMBUya-krIqAH. ASSOCIATING-WORKING-DISPELLING , CONSUMING THE GRAINS, THE LOTUS FIBERS CONSUMED or taken up, THE NEW GENERATING OF BIRDS AND ARROWS, the art of water beating and water sounds and roars, setting into life FORMS through five natured movement, as one 164


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whole space merging things in war like patterns in the axis of perception and transformation, in the transformatory serpentine movement, with acknowldging of the games of the DIFFERENT ITNERNAL nations art-generatories. Thus is the nature generative game.

् नवभव-सामथ्याात. ् १.४.२९ एकचानरणर् च 1.4.29 ekacāriṇaś ca vibhava-sāmarthyāt. 1.4.29 ekacAriRaS ca viBava-sAmarTyAt. The one moving as a whole commands the myriadized. The whole-movement aligns the parts to movement in a greater order. Endows life and vigour in the myriad.

् सखीनभर ् १.४.३० गनणकाया िानयकायार् च ् सह चनरतम एते ् ि व्याख्यातम. ् िागरकै र् च 165


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1.4.30 gaṇikāyā nāyikāyāś ca sakhībhir nāgarakaiś ca saha caritam etena vyākhyātam.

1.4.30 gaRikAyA nAyikAyAS ca saKIBir nAgarakES ca saha caritam etena vyAKyAtam.

ThE NUMERICAL impulsing travels with the feminine water principle in aligment with the neural centers, the nuclei and the cell bodies, expounding the nature of the whole principle in their united-bonded movements. In renewal all them impulses with THE WORD, THE ONE, THE PROFOUNDEST.

१.४.३१ अ:नवभवस त् ु र्रीर-मािो मनिका-फे िककषाय-माि-पनरच्छदिः पूज्याद ् देर्ाद ् आगतिः ् ्-उपदेर्िे गोष्ठ्ां वेर्ोनचते किास ु नवचक्षणस तद 166


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् पीि-मदािः. च वृत्त े साधयेद ् आत्मािम इनत 1.4.31 a:vibhavas tu śarīra-mātro mallikā-phenaka-kaṣāyamātra-paricchadaḥ pūjyād deśād āgataḥ kalāsu vicakṣaṇas tad-upadeśena goṣṭhyāṃ veśocite ca vṛtte sādhayed ātmānam iti pīṭha-mardaḥ 1.4.31 a:viBavas tu SarIra-mAtro mallikA-Penaka-kazAyamAtra-paricCadaH pUjyAd deSAd AgataH kalAsu vicakzaRas tad-upadeSena gozWyAM veSocite ca vftte sADayed AtmAnam iti pIWa-mardaH. . THe transmutando fountaining and separating in the breath principle, the axis transforming, in the bodily rhythm and measures the earthen pot transforming waters in a dualistic brain bonded measure, the rice boiling in water, a reddish potion being generated-the measured beats reflecting and enveloping, the region worshipped, and transformed by art, turns bright, brings to the understanding, ENTERS PERCEPTION, IS of the wisdom, thus through the subinstructory spaces from sub-regions merging the 167


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transmutando, as symbolized by the cattle, in a stable nature at the transformatory centers, genereating a resplendant fountain of joy, from the sedimented sorrow, an aligned transformatory circle is thus possible, the Atma or the Profoundest Self guiding to the source. This is the nature of the rising beats in the chambers.

् ु ु १.४.३२ भक्त-नवभवस त् ु गणवाि स:कििो वेर् े ् ्-उपजीवी च नवटिः. गोष्ठ्ां च बहु-मतस तद 1.4.32 bhukta-vibhavas tu guṇavān sa:kalatro veśe goṣṭhyāṃ ca bahu-matas tad-upajīvī ca viṭaḥ. 1.4.32 Bukta-viBavas tu guRavAn sa:kalatro veSe gozWyAM ca bahu-matas tad-upajIvI ca viwaH. The consumed portions transforming on the axis, in the nature and quality of the numerical impulsing, with one's fountain-waters, abiding in the chamber of breath fountaining, the transformatory centers, the nuclei, the 168


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merging of the perception of the many organs, through this manner is projected, understood, and thus is the way in which the many aspects and organs abide conformant to the foutaining beats from the axial mouth. The nuclei differentiate the beats into subaspects and roles, generating the differentiatied cells. There might be a sound stream implusing through the neural tube at the embryonic stage, or through the notochord, at the axis of the embryo, which generates the initial differentiation, generates the initial cerebro-spinal. The Word impulse thus, again, is regeneration, renewal, immortality. The embryo has three aspcets, the ectoderm, becoming the perception and will centers, the mesoderm becoming the structuring and circulatory, and the endoderm becoming the digestive. The nature of the manifest will may perhaps be seen in these aspects. The perceptive and acting, the internal structuring-nourishing, and the digestive of external reality. The process of LOVE mimics these aspects.

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् १.४.३३ एक-देर्-नवद्यस त् ु क्रीडिको नवश्वास्यर् च नवदूषकिः. वैहानसको वा. 1.4.33 eka-deśa-vidyas tu krīḍanako viśvāsyaś ca vidūṣakaḥ. vaihāsiko vā. The whole body knowledge, on the axis transforming, the games, trustworthy, of the buffoon. The actor, the bufoon, being the axial breath fountaining mouth. The play being amongst the water-fountaining feminine forms, BY THE CREATING PRINCIPLE.

१.४.३४ एते वेश्यािां िागरकाणां च मनन्त्रणिः संनधु ािः. नवग्रह-नियक्त 1.4.34 ete veśyānāṃ nāgarakāṇāṃ ca mantriṇaḥ saṃdhivigraha-niyuktāḥ. 1.4.34 ete veSyAnAM nAgarakARAM ca mantriRaH saMDi170


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vigraha-niyuktAH. This is how from the whore SPACE, THE vase, the neural centers, through rhtyhmic beating holds the sculpted body together neurally. This is the way the CREATOR STRUCTURES AND SUSTAINS THE COSMIC BODY, PERHAPS. The neural centers and the musical rhythming allow such structuring.

ु वृषल्यो ु किा-नवदग्धा मण्डा १.४.३५ त ैर ्नभक्षक्यिः ् व्याख्यातािः. वृद्ध-गनणकार् च 1.4.35 tair bhikṣukyaḥ kalā-vidagdhā muṇḍā vṛṣalyo vṛddha-gaṇikāś ca vyākhyātāḥ. 1.4.35 tEr BikzukyaH kalA-vidagDA muRqA vfzalyo vfdDagaRikAS ca vyAKyAtAH. The travelling breath impulde through expertise in the water fountining Art, the Kala, at the rounded top of the virile cerebro spinal with the expanding numerical impulse expounds. 171


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् ् १.४.३६ ग्राम-वासी च स:जाताि नवचक्षणाि ् कौतूहनिकाि प्रोत्साह्य िागरक-जिस्य वृत्त ं ् जियंस तद ् ् एवािक ् र् च ु ु वीत. वणायञ श्रधां ् प्रवतायते . ् संगत्या जिम अि ् रञ्जये ु त. ् गोष्ठीर् च ् ु ह्णीयात. ् उपकारयेच च. कमास ु च साहािेि चािगृ 1.4.36 grāma-vāsī ca sa:jātān vicakṣaṇān kautūhalikān protsāhya nāgaraka-janasya vṛttaṃ varṇayañ śradhāṃś ca janayaṃs tad evānukurvīta. goṣṭhīś ca pravartayet. saṃgatyā janam anurañjayet. karmasu ca sāhāyyena cānugṛhṇīyāt. upakārayec ca. 1.4.36 grAma-vAsI ca sa:jAtAn vicakzaRAn kOtUhalikAn protsAhya nAgaraka-janasya vfttaM varRayaY SraDAMS ca janayaMs tad evAnukurvIta. gozWIS ca pravartayet. saMgatyA janam anuraYjayet. karmasu ca sAhAyyena 172


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cAnugfhRIyAt. upakArayec ca. The earth village abiders with serpentining neural generatives, with breath fountaining neural eyes, innate desire driven, neurally birthed transformatory circles in coloured measured transformatory movement following the sound beats do generate in the action, that which reflects the profounder union-whole. The bonding centers act along. The transformatory aspects and anthropic aspects that are related merge together. With transformatory action, mutually assisting attract each other and bless each other. With sub-service to each other.

The earth village might be cells of the body, the non-neural cells. They are involved in absorbing and foutnaing earthmatter. The matter of the plan in which that anthropic form acts.

The nature of the will is to occupy its space. The system this rolls into a space of least potential, or occilates around the 173


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same, driven by the kinetic tendency. The space of highest unmanifesting potency, may to manifest forms be the space of lowest creative transmutando. The nature of things around fluctuate, with the nature of the WILL held. The unmanifesting will thus draws the waters from the external to around and inner. The fountaining will explodes out the new matter to the external. The system should reflect the CREATOR’S INTENT in the interplay of the same. In the cellular, we philosophize there will be in the nucleus digestion of matter around, and regeneration of new matter from the encoded beats. The active beat-sets are related to external perception. Thus the differentiation in DNA expression. In the same way, generally, a space of high activity results in active brains, if the brain is perceptive of things, thatis is, in more nourished-activated systems. Galactic patterns with blackholes at the center act similarly. Filamental other dimensional structures may be involved in transport of formed matter between cosmic structures. Each form is a transmutando wave, an aspect of the seed, its 174


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evolution encompassing the entire COSMOS. The perception of the second derivative of transmutando, against the transmutando magnitude itself at that point, is proportional to the E-V. V being proportional to the transmutando of forms around. The first derivative is the perception of the body itself. This is the philosophical foundation of the Schrodinger’s Equation, in the Translator’s opinion. The body is the first derivate of transformation from the vase. Perception the second derivative. This is neurally intergrated back in through nueral patterns in the brain, and fountained, generating conscious perception at the very high layers of the brain. A form is a pattern of firewater movement, a pattern of neural signaling. The symbol of the wavefunction Ψ is a symbol of the vase and the axis. The selection of the symbol the unconscious nature of the hyman system - the projected Will into the system orders the symbols. Schrodinger had little idea what the wavefunction meant.

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् िागरक-वृत्तम. ् १.४.३६च इनत 1.4.36c iti nāgaraka-vṛttam.

1.4.36c iti nAgaraka-vfttam.

This is the nature of WHIRLING neural spaces.

् १.४.३७व िात्यन्तं संस्कृतेि ैव िात्यन्तं देर्भाषया. कर्ां गोष्ठीष ु कर्यंि ् िोके बहु-मतो भवेत..् 1.4.37v nātyantaṃ saṃskṛtenaiva nātyantaṃ deśa-bhāṣayā. kathāṃ goṣṭhīṣu kathayaṃl loke bahu-mato bhavet.. A NEURAL SPACE'S transformatory borders, forms the neural transformatory nation expression-language, the 176


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transformation within guided such. The story expression following the merged-nuclei expression, the folks end up being of different natures. The folks here might be the cells in the body, particularly the non-neural cells.

् गोष्ठी िोक-नवनिष्टा या च स्वैर१.४.३८व या ् नवसनप ाणी. पर-नहंसानत्मका या च ि ताम अवतरे द् ु .. बधिः 1.4.38v yā goṣṭhī loka-vidviṣṭā yā ca svaira-visarpiṇī. parahiṃsātmikā yā ca na tām avatared budhaḥ..

या गोष्ठी िोक-नवनिष्टा या च स्वैर-नवसनप ाणी. पर् ु . नहंसानत्मका या च ि ताम अवतरे द ् बधिः. 177


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Expanding in air with the neural neuclei commanded cell's electric fountaining, with Self Willed, voluntary, movement expanding serpentinely. THE external destroying-natured expansion of breath, with the mud vase in neural beats fountains-emerges the Enlightened.

् ु न्या क्रीडा-मािैक१.४.३९व िोक-नचत्ताि वनता ् ि ् िोके नसनद्धं कायाया. गोष्ठ्ा सह-चरि नविां नियच्छनत.. 1.4.39v loka-cittānuvartinyā krīḍā-mātraika-kāryayā. goṣṭhyā saha-caran vidvāṃl loke siddhiṃ niyacchati..

The world, in fountaining intelligence from the vase, repeatedly distills IN ANALOGOUS to the profounder, repetitive expansion, as: play pleasure - transformative measure - substantial action done on the axis. The neural 178


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centers in bonded movement the wise fountaining waters has the world established in neural movement.

् श्रीवात्स्यायिीये कामसूि े साधारणे १.४च इनत प्रर्मे ऽनधकरणे िागरक-वृत्त ं चतर्ु ो ऽ्ायिः. 1.4c iti śrīvātsyāyanīye kāmasūtre sādhāraṇe prathame 'dhikaraṇe nāgaraka-vṛttaṃ caturtho 'dhyāyaḥ. This is Vatsyayana’s Kamasutra Sadharana the first chapter’s fourth section, labelled nagaraka vrttam.

The SriVatsyayana term may perhaps have to do with the fountaining sacral vase. Its aspcts, sections, and nature described in vatirous section. The neural reduces to the axis in the Ka Pattern, for instance.

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५ अर् िायक-सहाय-दूत-कमा-नवमर्ािामकिः पञ्चमो ऽ्ायिः. 5 atha nāyaka-sahāya-dūta-karma-vimarśa-nāmakaḥ pañcamo 'dhyāyaḥ. In serpentinging transmutando, dealing with the guiding of the neural transformatory hero’s assistance, the transformatory sense in the fountain merging to the axis and its dissolutionary merging of matter into the fountain, the fifth section. 180


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प्रकरण ५ section (prakaraṇa) 5

Of transformatory potentialities of five nature.

् षु ाु वणेष ु स:वणातिः र्ास्त्रतर् ् १.५.१ कामर् चत ् ु माििः पिीयो ु चाि:अन्य-पू वाायां प्रयज्य यर्स्यो ् भवनत. िौनककर् च 1.5.1 kāmaś caturṣu varṇeṣu sa:varṇataḥ śāstrataś cān:anyapūrvāyāṃ prayujyamānaḥ putrīyo yaśasyo laukikaś ca bhavati. Through the Kama fountain, four natured DISSOLUTION, BY FORM COLOUR DESCRIPTION, SERPENTININGLY COLOURED, BY THE FOUNTAIN SCIENCE EXAPNDING INTO NEURAL SPACES FROM MUD MATTER , 181


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SEPARATING OUT IN DUAL EMANATION, the neural expansion and the pre-causatives, BY DISSOLUTIONING FOUTNAINING impulsing of air, with a mind absent, lost to transformatory potentialities, generating ONE's own form, in resplendant fountain movement, and generating the things of the water worlds.

The form generated in the renewal of the Cosmos, is the Creator’s form. The work can only be done by the ONE, THE PRIMORDIAL MAN. IN THE ALIGNED CREATED FORMS, And since the will of all beings is bonded to the CREATING PRINCIPLE, ALL perception RENEWS, GENERATES THE NEW ANTHROPOS – the new body of the COSMOS. All Action being driven by the PRIMORDIAL WILL, THE PROJECTION FROM THE PRECREATION, all action expresses the WILL OF THE RENEWING PRINCIPLE, in other words, GENERATES THE NEW.

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१.५.२ तद ्-नवपरीत उत्तम-विाास ु परपनरगृहीतास ु ् च. प्रनतनषद्धो ऽवर-वणाास्व अ:निरवनसतास .ु ु षा ु च ि नर्ष्टो ि प्रनतनषद्धिः. वेश्यास ु पिभू ु ात्वात. ् सखार् 1.5.2 tad-viparīta uttama-varnāsu paraparigṛhītāsu ca. pratiṣiddho 'vara-varṇāsv a:niravasitāsu. veśyāsu punarbhūṣu ca na śiṣṭo na pratiṣiddhaḥ. sukhārthatvāt.

Thus transforming along the beats in axis, in inverted form, by the highest axial merging nature coloured - COLOURS AS TRANSFORMATORY PATTERNS on the urn, with the para and pari movements potential expansion and fountaining return on the axis, leading to its comprehension. Driven in forbidding restrain by the dissolutionary fountaining beats, the breath fountaining fire endowing colour, the transmutando moving in neural restrain on the axis, pushed back as it transforms, aligning the system to the 183


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profounder natural rhythming in it, or moving in the patterns of the dual transmutando breath अ: expanding neurally, transforming, forming its own profound abiding . From teh vase transforming, generating the new in breath dissolution, growing thus, thriving thus, the mud vase matter neurally drawen, the remaining of the movement restraining neurally dissolves. In plesaure breaking through. Bonded in meaning.

Para and pari may as well be movement on an outward expanding axis. Expansion and reduction to seed patterns. The The Egyptian Ra and Chinese Ri are references to the Sun.

The neural has rhtyming set up in it. Its forward impulsing forward has a trtrograde impact on itself.

् ु रा ्वेश्या च. १.५.३ ति िानयकास नतस्रिः कन्या पिभू 184


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इनत. 1.5.3 tatra nāyikās tisraḥ kanyā punarbhūr veśyā ca. iti. In the fountain axis' transformatory triadic the feminine, the three naured drawing, the water principle, rebirths from the vase WITH THE mud. Thus is the electric fountain set into sustained movement on the axis.

् १.५.४ अन्य-कारण-वर्ात पर-पनरगृ हीतानप ु पानक्षकी चतर्ु ीनत गोनणकापििः. 1.5.4 anya-kāraṇa-vaśāt para-parigṛhītāpi pākṣikī caturthīti goṇikāputraḥ. Transmutando neural moving causaitves projected to the axial-urn transformation, acting as the movemnt reason on the fountain repose, in para-pari-movement comprehended, like transformations of the flying bird on the axiz, four natured breath fountaining on the axis, generate the 185


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fountaining numerical and its generatives.

१.५.५ स यदा मन्यते स्वैनरणीयम..् 1.5.5 sa yadā manyate svairiṇīyam..

Serpenting thus, with the breath along the chambers, merging neurally by breath patterns on the axis, is the golden distillum from the urn, in balanced movement, along the nature of the self, as per one’s profounder will and inner pleasure. Note that Manyanti मन्यन्ती is a daughter of अनि मन्य.ु

१.५.६ अन्यतो ऽनप बहुर्ो व्यवनसत-चानरिा तस्यां ् गमिम उत्तम-वनणा ् ् वेश्यायाम इव न्याम अनप ि ु रा ्इयम. ् धमा-पीडां कनरष्यनत पिभू 1.5.6 anyato 'pi bahuśo vyavasita-cāritrā tasyāṃ veśyāyām 186


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iva gamanam uttama-varṇinyām api na dharma-pīḍāṃ kariṣyati punarbhūr iyam. The neurally differentiated external moving back to the axis, in transmutando potentialities fountaining to source, the manifold-birthed yet powerfully established in fountaining breath, resolved in the word breath, the profounder rhythm, the profounder form, abiding and moving. Thus serpentining from the vase, in dualistic breath movement, in electric breath movement, by the transformatory highest axial nature coloured, is given expressive form. In that fountaining of transformatory potentialities, the neural profound form endowing, through return by transformative beats, through the seed, to the axis, the dharma, affecting restrained transformation, driving the seed up the axis, is done the dissolutionary axial action of seed uptake, the new birth of the system, and electrically transforming wind to the axis formed.

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such an electric movement and otransformatory organization with the axis transformatorily destroying and restraining.

१.५.७ अन्यपूवाावरुद्धा िाि र्ङ्कानस्त. 1.5.7 anyapūrvāvaruddhā nātra śaṅkāsti. The anya enxpanding trnasformed in the urn by the profounder shining, by the primordial restraining in wind, and in its beats, the neural transformatories inherent, in the seed numericals, are established on the axis and its neural.

् ् ्-अ:नमि१.५.८ पनतं वा महान्तम ईश्वरम अिद ् ् ु ि चरनत. सा मया संसष्टृ म इयम अवगृ ह्य प्रभत्वे संसष्टृ ा िेहाद ् एिं व्यावतानयष्यनत. 1.5.8 patiṃ vā mahāntam īśvaram asmad-a:mitra-saṃsṛṣṭam iyam avagṛhya prabhutvena carati. sā mayā saṃsṛṣṭā snehād 188


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enaṃ vyāvartayiṣyati. The transforming potentialities, allowing the seed to rise in them and fall descending, in the word breath moving, the great neural Dissolutioner, The Great End of Phenomenon ,The GOD, Isvaram, the purest fountain form generative, is given generative action-applied, as transmutando merging to the axis in formative beats, the transmutado, अ: generative of the friendly analogous movement, the killing of enemies of the movement, in togetherness, and union, by the electric movement in breath , merging to the axis, by the breath transmutando, in comprehension held forcibly, as generative of the profoundest and fundamental transformatory potentialities into breath movement transformative of mud on to the axis. In such serpentining essence perception, is gathered, born together, merged, created, love's passion, in higher neural distilling, the higher unioning, repeatedly distilling in dissolutionary-perceptive fountain, on the axis.

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् १.५.९ नव:रसं वा मनय र्क्तम अपकत -ाु कामं च ् प्रकृ नतम आपादनयष्यनत. 1.5.9 vi:rasaṃ vā mayi śaktam apakartu-kāmaṃ ca prakṛtim āpādayiṣyati.

The fountaining dual breath generating the fluid movement inside in the air-breath and word patterns expanding, in essence infusing pattern, medicine infusing, magic infusing, the primal essence expansion strengthening in axial transformatory potentials of desire, while the axis injures the external, with GREATER POTENTIAL NATURE thus moving, generates breakthrough in internal paths, and rewards in dissolutionary movement.

् १.५.१० तया वा नमिी-कृ तेि नमि-कायाम अ:नमि190


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् ् ् वा दुष:प्रनतपादकं प्रतीघातम अन्यद कायं साधनयष्यानम. 1.5.10 tayā vā mitrī-kṛtena mitra-kāryam a:mitrapratīghātam anyad vā duṣ:pratipādakaṃ kāryaṃ sādhayiṣyāmi. The axial breath expanding as the word does, performing action through the feminine friend, the friend organizing action, the unfriendly action of transmutando being opposed, the transmutado’s dual breath, its strength generating the friendly conformance – breaking through the opposition, and other chamber expansion difficulties in potential movement are all resolved and the goal accomplished. The action in the feminine, in alignment with the word movement and in KRIT patterns to the axis, naturally establishes the mitra expanding from and on the axis, the prati-reflecting breath beats, the returning movement as well, and the poisoning-dissolution of the external, the pathways generated for the purpose, these 191


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actions are performed, dissolutioning the world to the axis.

् ्१.५.११ संसष्टृ ो वािया हत्वास्यािः पनतम अिद ् ् भाव्यं तद ्-ऐश्वयाम एवम अनधगनमष्यानम. 1.5.11 saṃsṛṣṭo vānayā hatvāsyāḥ patim asmad-bhāvyaṃ tad-aiśvaryam evam adhigamiṣyāmi. In the creative whirl, thus established on the seed, in its WIND weaving, killing, into the breath transforming, the transforming principle falling into, is obtained and generated gracefully the auspiciousness, all, as perceived in primal beginning, and the earth-transforming dissolutionary breath movement of the fountain- founded on the neuromind axis.

् िबद्धम ् ु १.५.१२ निर:अत्ययं वास्या गमिम अर्ाा .् ् ् अहं च नििः:सारत्वात क्षीण-वृ त्त्य-उपायिः. सो ऽहम ् 192


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् ् अ:कृ च्छ्राद ् अि ेिोपायेि तद ्-धिम अनतमहद अनधगनमष्यानम. 1.5.12 nir:atyayaṃ vāsyā gamanam arthānubaddham. ahaṃ ca niḥ:sāratvāt kṣīṇa-vṛtty-upāyaḥ. so 'ham anenopāyena tad-dhanam atimahad a:kṛcchrād adhigamiṣyāmi. The dissolutionary fire-water in fast exceeding enveloping movement, of dualistic nature, which manifests in the symmetry of human form, is bond with meaning, or artha, the nature of the universal artha principle, the artha principle drives the expansion. This meaning might be manifest IN THE GENETIC NEURAL PROGRAMS. IF THE PROGRAM IS THE PRIMORDIAL PROGRAM, WE EVOLVE THE PRIMORDIAL MAN. The breath transmudato self is, with Ni fountain's meaning essence, as the decaying reducing fountain to the urn - set in circular movement around the axis- of such potential transformatory measures expanding in breath. In the so and 'ham patterns -

so is the vase-breath circulatory uptake, which is the 193


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transmutando moving upward and ‘ham its expanding circulatory merging into the system with its rooting is on the axis - through myriad neural means and that generated wealth extremely great natured, the transmutado cutting through the mud attaining neural dissolution back to the axis.

् १.५.१३ ममा-ज्ञा वा मनय दृढम अनभकामा सा माम ् ् अि:इच्छन्तं दोष-नवख्यापि ेि दूषनयष्यनत. 1.5.13 marma-jñā vā mayi dṛḍham abhikāmā sā mām an:icchantaṃ doṣa-vikhyāpanena dūṣayiṣyati. In the vital points known, the neural centers known, in the neural centers known, the breath movement, the good inner fountain, the essence, is firm-solid in the transforming beats, the fountaining desire and love, moving serpentinely, belong to the self, the potentialities expanding and merging to the 194


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source and axis, in neural dual breath in wish moving the seed on the axis, at the profound end form of the wishes manifest, the dissolutionary qualities make manifest or announce the nature of that which corrupts, seduces in the breath, into dissolutionary movement.

् १.५.१४ अ:सद ्-भूत ं वा दोषं श्रद्धेय ं दुष:पनरहारं मनय क्षेप्स्यनत येि मे नविार्िः स्यात. ् 1.5.14 a:sad-bhūtaṃ vā doṣaṃ śraddheyaṃ duṣ:parihāraṃ mayi kṣepsyati yena me vināśaḥ syāt. The serpentining dual transmutando moving through the chambers, GENERATING BIRTH, and the word the fountaining expanding on, the dissolutionary pernicious pays attention to in the primordial patterns, understanding them, observing them, the evil-dissolutionary, thus is remedied; the fountaining essence, sending to the point, 195


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applying, in which manner, a destructive, return to the fountain is obtained, and a fountain repose in the word is established there.

१.५.१५ आयनतमन्तं वा वश्यं पनतं मत्तो नवनभद्य निषतिः संग्राहनयष्यनत. 1.5.15 āyatimantaṃ vā vaśyaṃ patiṃ matto vibhidya dviṣataḥ saṃgrāhayiṣyati. The slow breath movement on the axis raising the seed up, influenced in the vase breath, reposing-falling into the higher potentialities, in that JOY DRUNK STATE, separating in breath into two of opposing nature, knowing, merging that movement, is nature grasped. In the cellular space, this 196


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may have to do with DNA strands being scanned, and transposed into matter generating perception in the cell itself. THE PRIMORDIAL DNA needs to be thus structured in the primordial VASE-BREATH-RHYTHMING, dualized, AND EXTERNAL PERCEPTION transposed into internal structure, PROTEINS, by comprehending-readingtransforming that information, THE CORRESPONDING MEANING-GENERATIVE DNA on the axis and neuroanatomical networks in the body.

THE SEMINAL THUS BECOMES THE PRIMORDIAL SEMINAL, AND THE CELLS OF THE BODY HAVE THAT DNA ENTER THEM, AND THE BODY IS TRANSFORMED INTO THE PRIMORDIAL BODY. INFORMATION MAY BE ADDED TO THE DNA, THROUGH MERE PERCEPTION. A set of symbols, A BOOK, READ IN AN INSTANCE THROUGH PROJECTED PERCEPTIONING ABILITIES, SAY.

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THE INNER MUSICAL MOVEMENT, THE RHYTHMING THAT TRANSFORMS INPUT INTO PERCEPTION NEEDS TO BE profoundly studied.

THIS IMPLIES THAT through a sufficient strong projectio the ENTIRE WORLD MAY BE REDUCED TO THE PRIMORDIAL SIGNATURE, THE PRIMORDIAL MAN’S BODY, AND ALL INFORMATION SYSTEMS, AND KNOWLEDGE SYSTEMS IN IT, THUS COMPREHENDED, AND THE WORLD RETURNED TO A PRIMORDIAL ORDERING.

१.५.१६ स्वयं वा त ैिः सह संसज्य ृ ते . मद ्-अवरोधािां ् ् अस्याहम अनप ् वा दूषनयता पनतर ्अस्यास तद ् दूषयि प्रनतकनरष्यानम. ् दाराि एव 1.5.16 svayaṃ vā taiḥ saha saṃsṛjyeta. mad-avarodhānāṃ vā dūṣayitā patir asyās tad asyāham api dārān eva dūṣayan pratikariṣyāmi. 198


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THE SELF-TRANSMUTANDO, in the vase-breathtransmutando, THE WORD IN MOVEMENT, fountaining dualistically high on the axis, merges in serpentine firemovement in patterns of the seed. There are layered aspects to the transformation - मद ्, is how the beat-generative restrain on the axis manifests, the breath corrupteddissolutioned falls in potential, while acting sword like, in that axial beat , from the sword breath's penetrating into higher spaces and merging in the axis , is emerged the flowing stream, just as the corrupting alter movement, the PRATI-movement, acts. संसज्य ृ ते has the sense merging, sexual intercourse, etc. The higher union, is a sexual merging. When the मद ् is dissolved, all perception stops, and the transformation acts purely DISSOLVING the entire system to the higher, as now the seed stream flows purely upward, UNHINDERED. मद ् MAY perhaps HERE BE TOUGHT OF AS THE NOTION GENERATORIES. Knowing the patterns is often considered by authors to be 199


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generative of the sword.

् ् ि ं र्ि ं ु वास्य १.५.१७ राज-नियोगाच चान्तर :वनता निहानिष्यानम. 1.5.17 rāja-niyogāc cāntar:vartinaṃ śatruṃ vāsya nirhaniṣyāmi. The KING PRINCIPLE, the fire-water driver on the axis, IN WHOSE GUIDANCE THE MOVEMENT IS DRIVEN, the FIRE-KING thus, in neural movement guides matter, and in inner spaces, transforming the earthly matter it expands, moves, turns, taking the seed signature up the axis, into and above higher spaces, and thus enemy spaces surrounding, axing, dissolves in its neural breath. THE TRANSMUTANDO ENTERING THE BRAIN SPACES, transforms it, GUDIED BY THE HIGHER – THE HIGHER IS THE AXIAL REGULATORY, THE KING. The profoundest, the transmutator ought to align to. THE PURPOSE OF THE 200


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WORK SOLELY BEING TO AID GOD IN HIS WORK.

् १.५.१८ याम अन्यां कामनयष्ये सास्या वर्गा. ताम ् अि ेि संक्रमेणानधगनमष्यानम. 1.5.18 yām anyāṃ kāmayiṣye sāsyā vaśagā. tām anena saṃkrameṇādhigamiṣyāmi. In an impulse-path of breath, a path neurally extending outward, by profoundest desire forms is it is brought under power. Darkness of myriad forms, is thus brought together in order, and in that progression observerd. संक्रम has the sense SHOOTING STARS, UNION, ETC.

Note: Chitta bramam, the disruption of the structured brain and axial, the projected brain leads to the tendency of fall. All movement should expand the Creating Essence into every cell, every impulse and every movement should act such. The movements fast or slow have this goal. Whatever 201


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the external phenomenon, the WILL should never be disrupted. THE WILL IS THE PROJECTED WILL OF THE CREATOR. Let all perceptions of the Union allow this to happen. Let all peceptions of the UNION, reflect the NATURE OF THE CREATOR. THE ARTIST SHOULD FIND THE SACRAL MUSIC IN REPOSE TO THE PROFOUNDEST, AND MOVE AND DANCE IN ACCORDANCE TO IT. LET IT MANIFEST AND UNMANIFEST ALL MOVEMENT. Nothing of the external, object, subject, thought, images, living, non living, humans, friends, family, or relation, nor enemies, nor the lower, nor the higher, but for the HIGHEST LORD, the HIGHEST CREATING PRINCIPLE, THE CREATOR, THE ALL PREVEADING ETERNAL REASON, THE ONE BEYOND THE GUNAS, should move the mind. If the libido attaches to the external, or passing phenomenon, it is disruption.

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The Bhagavat Gita, an ancient Indian Text, whose title in a sense, means, ‘The Song of The Lord,’ says, In Chapter 2, Verses 60-63,

ु यततो ह्यनप कौन्तेय परुषस्य नवपनश्चतिः । इनन्द्रयानण प्रमार्ीनि हरनन्त प्रसभं मििः ॥२- ६०॥ ु आसीत मत्परिः । तानि सवाानण संयम्य यक्त वर्े नह यस्येनन्द्रयानण तस्य प्रज्ञा प्रनतनष्ठता ॥२- ६१॥ ्ायतो नवषयान्स ं ु िः सङ्गस्तेषपू जायते । सङ्गात्संजायते कामिः कामात्क्रोधोऽनभजायते ॥२- ६२॥ क्रोधािवनत संमोहिः संमोहात्स्मृनतनवभ्रमिः । 203


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ु िृनतभ्रंर्ाद्बनु द्धिार्ो बनद्धिार्ात्प्रणश्यनत ॥२- ६३॥

ु यततो ह्यनप कौन्तेय परुषस्य नवपनश्चतिः । इनन्द्रयानण प्रमार्ीनि हरनन्त प्रसभं मििः ॥२- ६०॥ ु आसीत मत्परिः । तानि सवाानण संयम्य यक्त वर्े नह यस्येनन्द्रयानण तस्य प्रज्ञा प्रनतनष्ठता ॥२- ६१॥ ्ायतो नवषयान्स ं ु िः सङ्गस्तेषपू जायते । सङ्गात्संजायते कामिः कामात्क्रोधोऽनभजायते ॥२- ६२॥ क्रोधािवनत संमोहिः संमोहात्स्मृनतनवभ्रमिः । ु िृनतभ्रंर्ाद्बनु द्धिार्ो बनद्धिार्ात्प्रणश्यनत ॥२- ६३॥ 204


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इनन्द्रयाणां नह चरतां यन्मिोऽि ु नवधीयते । ु वनमवाम्भनस ॥२- ६७॥ तदस्य हरनत प्रज्ञां वायिाा तिाद्यस्य महाबाहो निगृहीतानि सवार्िः । इनन्द्रयाणीनन्द्रयार्ेभ्यस्तस्य प्रज्ञा प्रनतनष्ठता ॥२- ६८॥ A translation of the above by Sivananda is,

The turbulent senses, O Arjuna, do violently carry away the mind of a wise man though he be striving (to control them). Having restrained them all he should sit steadfast, intent on Me; his wisdom is steady whose senses are under control. When a man thinks of the objects, attachment to them arises; from attachment desire is born; from desire anger arises. From anger comes delusion; from delusion the loss of memory; from loss of memory the destruction of discrimination; from the destruction of discrimination he perishes. 205


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In that peace all pains are destroyed, for the intellect of the tranquil-minded soon becomes steady. But the self-controlled man, moving amongst objects with the senses under restraint, and free from attraction and repulsion, attains to peace. The phrase,

क्रोधािवनत संमोहिः संमोहात्स्मृनतनवभ्रमिः । ु िृनतभ्रंर्ाद्बनु द्धिार्ो बनद्धिार्ात्प्रणश्यनत ॥२- ६३॥ Krodhaad bhavati sammohah sammohaat smriti vibhramah; Smritibhramshaad buddhinaasho buddhinaashaat pranashyat

TO the author, this suggests the idea, among other deeper senses, that: the axial form disrupted is bonded in desire with the external, the bonding thus of the axial energies, and the external focus, disrupts the serpentining energies, rising, BONDING WITH THE GODHEAD, THIS, THE STATE OF REMEMBRANCE, THE SMRITI, getting disrupted, THE 206


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BRAIN IS DISRUPTED AND DESTROYED, and WITH THE DESTRUCTING OF THE REASONING, the person IS LED ASTRAY. The bonding of perception to anything that is passing is the disruption of the state of ideal transformation, THE STATE IN WHICH ONE PERCEIVES NOTHING, BUT THE GODHEAD, THE UNCHANGING PERCEPTION.

् ् ा१.५.१९ कन्याम अ:िभ्यां वात्माधीिाम अर् रूपवतीं मनय संक्रामनयष्यनत. 1.5.19 kanyām a:labhyāṃ vātmādhīnām artha-rSūpavatīṃ mayi saṃkrāmayiṣyati. The virginal waters, in transmutando dual is attained, in the wind movement's soul, neurally based, artha's form, अर् ा being meaning generated in neural movement, the form of the meaning generative, the force that penetrates, the virginal waters take form of that, in essence fountaining, thus creatively transforming from the seed, and enabling 207


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dissolutionary perception. The creative transformative may be understood as measured beatings in the seed-principle, structuring-expansing out information in water, along the axis, संक्राम .

१.५.२० ममा:नमिो वास्यािः पत्या सहैकी:भावम ् ् अिया ् उपगतस तम रसेि योजनयष्यामीत्य ् ् ् एवम:आनदनभिः कारण ैिः पर-नस्त्रयम अनप प्रकुवीत. 1.5.20 mamā:mitro vāsyāḥ patyā sahaikī:bhāvam upagatas tam anayā rasena yojayiṣyāmīty evam:ādibhiḥ kāraṇaiḥ para-striyam api prakurvīta. The self upholding sun, THAT WHICH UPHOLDS THE SELF AND FRIENDLY, in breath abiding, and falling in friendly expression, in sub-movement approaches, entering the dark spaces SEEKING MERGING OT THE AXIS, in neural adversity generating movement, by the bodily rasas, the quicksilver, merges-unites in fire-water, and breath movement, AND in the resulting perception, for the 208


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PRIMORDIAL REASON ALONE, THE EXTERNAL WOMEN, IN TRANSFORMING POTENTIALITIES HE ACTS ON. The essences in the body become the movement of the primordial essence. The PRINCIPLE PERMEATES THE BODY, AND TRANSFORMS.

१.५.२१ इनत साहनसक्यं ि के विं रागाद ् एव. 1.5.21 iti sāhasikyaṃ na kevalaṃ rāgād eva. This involves great ferocity, and neural dissolution by the music of the primordial one. The process requires a heroic mindset while the internal dissolution is to the ONE principle, the Profoundest. The rhythm is sacral-ly known. Or in the union-movement known or mapped. Thus moving with the primordial, one may project out the heroic dissolutionary energies. रागाद ् एव MAY ALSO be understood as the music fountaining to higher spaces. The fire transforming earth on the axis, through chamber beats, and fountaining, distilled, in the breath to higher spaces. के विं is a 209


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fountain return to the seed waters on the axis. इनत an electric expansion around the axis. साहनसक्यं is intense serpentining on the axis of the breath around, leading to the axial seedwinds.

् पर-पनरग्रह-गमण-कारणानि. १.५.२१च इनत 1.5.21c iti para-parigraha-gamaṇa-kāraṇāni. This is causative of the para-pari comphrehendingmovement in the neural fountain. The urn is the source of matter, and where matter transforms. Of , पर-पनरग्रह-गमण The sense may also be one of movement exapanding and withdrawing around a central house, which here is the human body, perhaps.

NOTE that the science implies, THE NEUROELECTRICITY SHOULD COURSE DOWN TO THE SCROTAL VASE AND DICK AND BELOW, AND INTO EVERY CELL.. THE 210


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ELECTRIC FOUTNAIN FROM THE BRAIN. AND LET THE ENERGY RISE HIGH, DESCEND DEEP, AND COVER IT ALL. THE BRAIN ORDERS ALL. THE ANTHROPIC AXIS IS THE BRAIN PROJECTING ITS NEUROELECTRICITY. THE BODY IS PERCEPTION OF THE WORLD, BY THE BRAIN. The primordial brain is in the signature of the primordial seed. the PHALLIC MOVEMENT SHOULD BE OF THAT PATTERN THAT IT REFLECTS THE PRIMORDIAL, REFLECTS-PROJECTS THE NEUROELECTRICITY OUTWARDLY, AND EXTERNALLY, AND INFUSES THE SYSTEM FROM THE INSIDE TO THE OUTSIDE WITH IT AND ITS RENEWING PATTERNS. The perception activates a portion of the PRIMORDIAL DNA. Impulse it on the axis, project the generated mercury to order that space. PERHAPS. The DNA IS KNOWLEDGE, PRIMORDIAL ORDERING RELATED TO THAT INPUT. ANY DISORDER, INTERNAL OR EXTERNAL MAY THUS BE COMPREHENDED AND FIXED. The perception of the 211


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brain shouldn’t be the external but the form of its manifest primordial nature, OR THE PRE-PRIMORDIAL. The observation, OBSERVATION OF THE PRIMODIAL MAN OF HIMSELF.

IN LOVE, THE PERCEPTION OF THE BELOVED IS A SUBPERCEPTION OF ONE’S SIGNATURE. In the case of the feminine loving her LORD, it’s a greater perception of herself. If those parts of the DNA ARE ACTIVATED, THE PRIMORDIAL MAN ORDERS THOSE ASPECTS OF THE SYSTEM, WHICH IS REORDERED IN HIS OWN NATURE. THE JOY IS KNOWLEDGE. KNOWLEDGE IS PERCEPTION PROFOUNDEST OF ONE’S HIGHEST NATURE.

IN THE SELF CREATE, THE BELOVED IS

THEN HIS OWN REFLECTION. REFLECTION IN PRIMORDIAL WATERS, SAY.

THE ENTERING INTO INNER FRACTAL SPACES OF KNOWLEDGE HAS THE FORM OF PENETRATION212


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DISSOLUTION, REORDERED PERCEPTION. THE PRIMORDIAL WORKS THE SAME THROUGH THE FEMININE AND IN THE FEMININE, ORDERING HIMSELF, KNOWING HIMSELF. THE PARA PARI MOVEMENT SEEMS MANIFEST HERE AS WELL. PERCEPTION IS PROJECTION INWARD INTO THE WHOLE PRINCIPLE, GENERATING A DNA-WIND CORRESPONDING TO IT, AS THE ANCIENT CHINESE FORM OF WIND SAYS.

The FORMS also suggest an uptake of earth-materia

. The form of the ordinary wind,

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, the wind being the seed circulating, generating

perception

. ALL PERCEPTION IS PERCEPTION

OF THE CREATOR.

The PRIMORDIAL MAN PERCEIVES HIMSELF

.

THE CREATED SYSTEMS have the primordial intent penetrating them, generating perception. ANCIENT TRADITIONS VENERATE THE PRIMORDIAL CREATIVE FORCE. The worship of the PRIMORDIAL PHALLIC IN ANCIENT INDIAN TRADITIONS, FOR INSTANCE. THE CREATIVE PHALLIC MUST PENETRATE INTO ALL

SYSTEMS

– THE CREATIVE FACTOR OF THE 214


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COSMOS, THUS REGENRATING, RENEWING, DESTRTUCTING, ORDERING ALL. THE PRIMORDIAL IN RENEWAL DESTRUCTIONS INTO ALL REALITY, ABSOLUTELY NOTHING LEFT OUT OF THE PROCESS. THE PRIMORDIAL DESTRUCTIONS IN ABSOLUTE STRENGTH.

NOTE: to reason from another perspective, THE FORM OF THE PROJECTED WILL IS THAT OF THE AXIAL WILL. THE PRIMORDIAL AXIAL WILL IS IMMOVABLE, IMPENETRABLE, DIAMONDLIKE OF UNSURPASSABLE DENSITY AND STRENGTH. THE WILL IS STRONG, FIERCE, ELECTRIC, TRANSFORMATORY, DESTRUCTIONARY AND DISSOLUTIONARY. THE PROJECTED WILL, WILL EXACTLY BE OF THE SAME NATURE. THE WILL IS RISING TO THE HIGHEST, AND DESCCENDING TO THE DEEPEST, TO THE OUTERMOST AND THE CENTERMOST, THE INNERMOST, AND FURTHER INWARDS, OUTWARDS, AND EXPANDING 215


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INTO AND ENTERING INTO EVERY SPACE, AND ALL MATTER.

NOTE ALSO THAT IT IS THE MOST UPRIGHT TO MOVE IN THE PRIMORDIAL RHYTHM – THAT WHICH MOST NATURALLY EVOLVES OUT, GENERATES EMPTINESS. Out of the rhythm is degenerate patterns. Degeneration of the world, dissolution, is done in out of rhythm beats, perhaps. The Body going beyond the GUNAS, THROUGH the pattern, becomes as the pre-primordial projecting the PRIMORDIAL IMPULSING. THEORETICALLY. ONE’S PERCEPTION OF THE WORLD, OF THE BODY, VISION, BREATH, HAS ALL TO BE IDEAL, AS OF THE CREATOR’S WORLD, THE CREATOR’S BODY, CREATOR’S VISION, CREATOR’S BREATH. ALL ACTION HAS TO BE PERCEIVED THUS. ALL INTERNAL PHENOMENON, AND SURFACE PHENOMENON, AND ALL EXTERNAL PHENOMENON HAS TO BEEN SEEN 216


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IDEAL, THE NON IDEAL DESTRUCTIONED IN SUCH PERCEPTION. THE STATE HELD, ALL KNOWING, THEY WAYS OF KNOWING, BECOMES THAT OF THE CREATOR. THE NATURES OF THINGS ARE KNOWN EASILY, IN THE CREATOR’S PERCEPTION OF THEM. THROUGH THE SENSES. THROUGH THE NATURE OF INNER IMPULSING, ETC. THE NATURE OF THE BODY AND SENSES ARE KNOWN. THE WAY TO ACT IN SCENARIOS EMERGES NATURALLY, WITH THE NATURE OF THE CREATING PRINCIPLE EXPANDING WITHING, THE PROCESSING OF PERCEPTION, THE SCIENCE OF ACTION, IS ALL KNOWN NATURALLY. THE TOUCH OF ORDINARY WATER, SAY, TRANSFORMS FROM A PERCEPTION OF WHAT IS MUNDANE, TO A PERCEPTION OF ITS NATURE, ITS ORIGIN IN REALITY, ITS SUTENANCE, ITS CONSTITUENCE, THE JOY IT GENERATES, AND SO FORTH, to capture the idea in vague words. 217


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THE DIRECTION OF EXPANSION, THE NATURE OF EXPANSION, SUGGESTS THE ACTION, IN A PERCEIVED STATE. THE NEURAL PATHWAYS NEEDED ARE FORMED, OR ACTIVATED. THE SYSTEM once having performed an action such, IN SUCH A STATE, FINDS REPETITION ON THE SAME PATHWAYS EASIER, JOYOUS. IN PERFORMING ANY ACTION, IN TEMPERING THE BODY THROUGH REPEATED MOVEMENT, THE PERCEIVING IN PATTERNS OF THE CREATING, THE EXPANDING BEATS, GENERATES THE IDEAL. INTENSELY LIVING, INTENSELY STUDYING, INTENSELY PERCEIVING, BONDED ABSOLUTELY TO THE SOURCE ALONE, IN THE THICK OF LIVING PHENOMENON THUS IS AN IDEAL. SERVING THE PURPOSE OF CREATION. AS THE HUMAN BODY IS AN INSTRUMENT OF STUDY OF THE CREATED, FOR THE CREATOR, SO IT WOULD SEEM REASONING FROM THE PERSPECTIVE. 218


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the goal in action SHOULD, EXTENDING THE LOGIC OF NOT DISRUPTING THE WILL BY BONDING TO THE PASSING, NOT BE TOO NARROWLY DEFINED, NOR BE ATTACHED TO. If the matter generated in such bonding – to temporal or material forms – is broken through IN THE PROFOUNDER IMPULSING, THE EASIER BREAKING THROUGH THE SAME, THE NEXT TIME THROUGH SUCH IMPULSING. THE BODY, ITS FORM, APPEARANCE, WILL, STRENGTH, PERCEPTION, SHOULD ALL BE ASSIMILATED TO THE WILL OF THE CREATOR, TO THE EXPANDING BEATS OF THE CREATING PRINCIPLE. IN EVERY ORGAN SYSTEM, ORGAN, CELL, MOLECULE, ATOM, AND FINER, THE PHENOMENON SHOULD MANIFEST, AND IN THE GREATER UNIVERSES AROUND. THE IMPULSING FROM THE CREATOR GENERATES THE PERFECT MAN, THE PRIMORDIAL MAN EMERGES 219


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THUS, THE BODY OF THE PRIMORDIAL MAN IS FORMED-PROJECTED INTO THE PLANE OF REALITY, RECTIFYING THE SPACE, ALIGNING AND ASSIMILATING IT TO THE WILL OF THE CREATOR.

१.५.२२ एत ैर ्एव कारण ैर ्महा-माि-संबद्धा राजसंबद्धा वा ति ैक-देर्-चानरणी का नचद ् अन्या वा काया-संपानदिी नवधवा पञ्चमीनत चारायणिः. 1.5.22 etair eva kāraṇair mahā-mātra-saṃbaddhā rājasaṃbaddhā vā tatraika-deśa-cāriṇī kā cid anyā vā kāryasaṃpādinī vidhavā pañcamīti cārāyaṇaḥ.

The fountaining fire transformatories high on the axis, have the bonded breath as their driving. In the anthropic form, this might be the cerebral driving being DECUSSED through the processes in the brainstem, ETC. A SEXUAL UNION 220


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AND PROCESSING IN THE PERCEPTION BEFORE THE CEREBRAL RECEIVES IT FOR FURTHER MAPPING AND PROCESSING. The RHYTHM measure of the breath on the axis, THE GREAT RHYTHM, and its bonding, the waters taking form, the fire-driving king's bonding and driving of form, in the WORD-breath, THE TRIADICITES ESTABLISHED in the mud-transforming body, the fountain expanding, the mud fountaining, in the axial profoundeststructuring beats restrained to, the external perceiving neural, thus, in the expanding word, action performs, in seed bonded movement generates result, bonding the external feminine water into one's own system in five fold FIRE-WATER movement ON THE AXIS, the way of the movement Charayanah, is thus. The PRIMORDIAL CREATIVE INTENT IN THE COSMOS EXPANDS OUT THUS. So does the destructive INTENT. REGENERATION BY THE CREATIVE OF THE COSMOS AND ORDERING IN A NEW SEED OR PROGRAM HAPPENS THUS. THE ART OF THE CREATOR, AS PERCEIVED BY 221


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CHARAYANA IS THUS.

ु िाभिः. १.५.२३ स ैव प्रव्रनजता षष्ठीनत सवणा 1.5.23 saiva pravrajitā ṣaṣṭhīti suvarṇanābhaḥ. The fountaining serpenting in the breath, in potentialities transforming, generating life, is of six fold nature, of dissolutionary nature in beats on the axis, of the suvarnabhah pattern, the breath vitalizing, into bright patterns manifesting in neural spaces. This being studied by Suvarnabhah system. The repetead circulation on the axis, updraws and generates beauteous patterns. Orderdly bonding the entire system, making the seed principle manifest in ordered wholeness. Activating and knowing all its aspects, and bonded variant expressions, in such circulatory movement. The updrwaing, in a state is the seed form. The profoundest seed form updraws all of reality. Reorders all reality in reemerging generation. Digestion and manifestation. The generation of the new body. 222


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The activated perception, the seed aspects begin to generate themselves. The activated perception begins to dissolve itself as its bonded to the deeper. The seed movement occurs thus. The perception thus must bring out the profoundest in the rhythming beats of time, in the music of time, and dissolve into the profoundest the ancient reality, again, in the rhythming music of time. Suvarnabhah form tells us that the serpentining is rooted in the urn, and transforming moves through the neural systems, and manifests as rhythming deep breath in the system. Note that when the seed is employed the way it should, there is no loss of it. Digest the world around in it. Regenerate in internal perception. The generated internal waters must have the profoundest will ordering in it. Understand practically.

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् १.५.२४ गनणकाया दुनहता पनरचानरका वाि:अन्यु पूवाा सप्तमीनत घोटकमखिः. 1.5.24 gaṇikāyā duhitā paricārikā vān:anya-pūrvā saptamīti ghoṭakamukhaḥ. The numerical implusing, generating the feminine forms, carrying forward the structured breath, nurturing the movement, the neural breath of dual form, toward further expansion, external, drawing from the previously present potentialities, is of the seven nature on the axis, the Ghodamukha pattern, breaking through, the generator of the breath forms that break through, the associated study.

१.५.२५ उत्क्रान्त-बाि-भावा कुि-यवु नतर ् उपचारान्यत्वाद ् अष्टमीनत गोिदीयिः 1.5.25 utkrānta-bāla-bhāvā kula-yuvatir upacārānyatvād aṣṭamīti gonardīyaḥ. 224


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Transformatorily moving out and upwards, moving the seed up the axis, expanding its transformatory reaches, in youthful forms, the entire family system, the entire bonded body, reviving, making youthful, obliging the system to the movement, the external serving the system, the movement being circullatory obliging through the external while the central purpose is fulfilled, this is of eight natured movement. The study of gonardiyah patterns. The axis, projecting external, the axis entering deep into the earthvase, transforming the matter upwards in teh patterns of dualizing seed-breath.

् १.५.२६ कायाान्तरा:भावाद ् एतासाम अनप पूवाास्व ् ् ् एवोपिक्षणम तिाच चतस्र एव िानयका इनत वात्स्यायििः. 1.5.26 kāryāntarā:bhāvād etāsām api pūrvāsv evopalakṣaṇam tasmāc catasra eva nāyikā iti vātsyāyanaḥ. Between the transformatory actions, in the inner processes, 225


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the breath forms generated, in the neural restraining whole in likeness to, and serpentinely merging to, in potentitalities with the , the inner breathing self, the profounder self, from this emerges, the dart like transformative feminine forms, this is rooted in the Vatsyayana, the vase-breath-impulses. This is the Vastyayana science. In emergerent and merging action, in action, and emergent silence repose, the fountainign feminine emerges, unioning to the profounder. Feminine acting with the profoundest masculine moving in her destroys and orders external reality. A four fold ordering in manifest reality has its origin in the inner impulses and repose.

् . ् तीय-प्रकृ नतिः पञ्चमीत्य एके १.५.२७ नभन्नत्वात तृ 1.5.27 bhinnatvāt tṛtīya-prakṛtiḥ pañcamīty eke. Seperating into nature, and fundamental impulsing in breath 226


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the nature of the triadic. The five unions into the whole. The dissolutionary whole is the five, the generation of primordial structure seperating froma solidified mass occur by virtue of the triadic principle. The three forms the symbol of fire and water. The 3 acting on earth, followed by 5 structures earth into the anthropic. The fountaining into higher spaces is five movement. Dissolution, unmanifestation, thus.

१.५.२८ एक एव त ु सावािौनकको िायकिः. प्रच्छन्नस ् त ु नितीयिः. नवर्ेषािाभात. ् उत्तमाधम-म्मतां त ु ् भयोर ्अनप ु णतो ु गण-ग नवद्यात. ् तांस तू ् नर्के वक्ष्यामिः. ु ु गणा:ग णाि वै 1.5.28 eka eva tu sārvalaukiko nāyakaḥ. pracchannas tu dvitīyaḥ. viśeṣālābhāt. uttamādhama-madhyamatāṃ tu guṇa-guṇato vidyāt. tāṃs tūbhayor api guṇā:guṇān vaiśike vakṣyāmaḥ. 227


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THe One principle is the ruler, neural guide, of all serpentining worlds. ITS disguise is the dual. The natures of THINGS ARE OBTAINED THUS, FOR THAT PURPOSE, THE DUALIZATION MANIFESTS FROM THE OMNIPREVADING ONE. The excellent, axial merging, greatest, driver to the primordial form, the bonding to the profounder, the movement in the breath, in the middle breath movement, moving the seed up the axis, transforms on the axis, by the numerical nature of things, dualizing, axially moving up, in the sacral vase and its fountaining, this is oberved in dissolution. Staying, abiding in a dissolutionary state thus to the axis is perception.

् तािः कुनष्ठन्य उन्मत्ता ् ् एवै १.५.२९ अ:गम्यास त्व पनतता नभन्न-रहस्या प्रकार्-प्रानर् ािी गत-प्राय् यौविानतश्वेतानतकृ ष्णा दुर:गन्धा संबनन्धिी सखी 228


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् प्रव्रनजता संबनन्ध-सनख-श्रोनिय- राज-दारार् च. 1.5.29 a:gamyās tv evaitāḥ kuṣṭhiny unmattā patitā bhinnarahasyā prakāśa-prārthinī gata-prāya- yauvanātiśvetātikṛṣṇā dur:gandhā saṃbandhinī sakhī pravrajitā saṃbandhi-sakhiśrotriya- rāja-dārāś ca. The transmutando movement in vitalizing breath, the movement which is the perceivable, the knowable, numerical impulse, TRANSFORMING ON the axis, while moving in the word-breath, unioning and fountaining dualistically higher up the axis, the body, the dissolutioning yet untransformed, intoxicates, drunkenns, vitalizes, and have fallen in transformatory potentialities, exploded, separated, from the secret-inner, to the fountaining manifest in light on the axis, manifest before the world, held up in neural will, and desire, bonded with the profound, movement setting forth, the profounder, vital, purer, setting into movement, the youth generating, pure, The Krishna Principle , the door-opening of the transformatory chambers, 229


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the neural breath perceptories, the smell-perception of transforming matter, thus, and the related serpenting neural bonded feminine, their potential fire-transformatories, the related sound-perception on the fountaining axis, of the feminine bonded, in the strong fire water stream, the opening of the flooding, of the King Principle acting into the vase. Describing the nature of vitalizing transmutando, its perception, etc.

ु िा:गम्या का नचद ् अस्तीनत १.५.३० दृष्ट-पञ्च-परुषा बाभ्रवीयािः. 1.5.30 dṛṣṭa-pañca-puruṣā nā:gamyā kā cid astīti bābhravīyāḥ. In the transformatory VISION, perception of the dissolutionary beats, THE FIVE NATURED PRIMORDIAL MAN generating neural transformatory movementm in the axial systems, in the breath-word, the axis expanding, the enlivening nature of the CREATING PRINCIPLE, is of eight 230


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natured form. Fountaining as the Babhraviyah dual breathwind form. This is studied in the Babhraviyah system.

् १.५.३१ संबनन्ध-सनख-श्रोनिय-राज-दार-वजाम इनत ु गोनणकापििः. 1.5.31 saṃbandhi-sakhi-śrotriya-rāja-dāra-varjam iti goṇikāputraḥ.

The bonding seed, its bonding with the sound perceiving waters, the friendly feminine, THE KING PRINCIPLE'S FOUNTAINING, yet maintaining a pure seperation from the world, a forging in the KING'S FOUNTAINING, a forging in the PROFOUNDEST TRANSFORMATIVE WORD, thus the form of the GONIKAPUTRAH in the fountain. THE NUMERICAL AND ITS GENERATIVE. This is studied in the Gonikaputrah system.

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् ु १.५.३२ सह-पांस-क्रीनडतम उपकार-सं बद्धं समाि् र्ीि-व्यसिं सहा्ानयिं यर् चास्य ममानण ् रहस्यानि च नवद्यात यस्य चायं नवद्याद ् वा धाि-् अपत्यं सह-संवद्ध ृ ं नमिम. ् 1.5.32 saha-pāṃsu-krīḍitam upakāra-saṃbaddhaṃ samānaśīla-vyasanaṃ sahādhyāyinaṃ yaś cāsya marmaṇi rahasyāni ca vidyāt yasya cāyaṃ vidyād vā dhātr-apatyaṃ sahasaṃvṛddhaṃ mitram. In serpentining potentialities, together in breath, in the transforming dung playing, performing the killingtransforming in reality, reducing to axial expansion, bonding, beneficial to each other, in seed patterns, in mutual balanced honourable form, the fountaining structure, the fountain form, the SIla, the virtous form, the anthropic, against adversity expanding, the neural expanding in seed patterns, thus abiding, in togetherness, mutual helpfulness, 232


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the fountain of glory thus, in the transformative wind, is the in the nature of the inner neural centers,the PRIMORDIAL CREATIVE intent penetrating sword-like the neurocenters, the innermost secrets therein, thus ELECTRIC-VIVIFYING THE BODY, GENERATING the WISDOM FOUNT from the URN, AND ITS RESULT IN THE NEURAL, In such natured endeavour, and wind movement, is generated knowledge, the transformatory impulsing from the vase, the word expression, the receptacle, the feminine, generating the offspring, together, the seed growing, nurtured to the axis by friendly movements in inner centers, and neuraxial centers.

All aspects of the system have an anthropic sense to them. Ordering the wild, or in a wild ordering to the profounder, the system is put in a state of bonded return to the profound. The ORDERING HAS TO BE in the profoundest WORD. Initially in RHYTHMING MOVEMENT WITH THE WORD, THIS MAY BE ACCOMPLISHED, AND INTENSIFIED AND TAKEN INTO PROFOUNDER MICRO REALMS, IN 233


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WILDER DANCE.

THE GREATER the ordering in the patterns of the PROFOUNDEST SEED, THE GREATER THE TRANSFORMATION, AND THE NATURAL, ORDERED UPTAKE OF THE SEED IN EVERY ASPECT OF THE SYSTEM.

् ् १.५.३३ नपतृ-प ैतामहम अ:नवसं वादकम अ:दृष्ट् ् वैकृतं वश्यं ध्रवु म अ:िोभ-र्ीिम अ:पनरहाया म् अ:मन्त्र-नवस्रावीनत नमि-संपत. ् 1.5.33 pitṛ-paitāmaham a:visaṃvādakam a:dṛṣṭa-vaikṛtaṃ vaśyaṃ dhruvam a:lobha-śīlam a:parihāryam a:mantravisrāvīti mitra-saṃpat.

The profounder generative, the generative potentialities, the internal paternal, the still previous, the BRAHMA 234


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HIERARCHIES, the internal creative hierarchies, in the dual transmutando breath, in word-fountaining, interact in agreement, exchanging information manifested by the serpentining seed unfolding in rhythmic drumming on the axis, in the dual transmutando breath, the hierarchy movement makes vision manifest, the dissolutionary drumming’s vision, and in that vision by the word performs the action of transforming, the ugly in the manifest, that which is undergoing change, generating bonding, subjecting to will, holding in absolute alignment to the word-fountain, THE DUAL TRANSMUTNADO INTO THE ETERNAL CONSTANT, UNCHANGING NATURE, THE DRUVA, THE WATER FECUND WORLDS IN BREATH FOURTAINING, THUS THE DUAL TRANSMUTANDO THUS ACTING, THUS THE FOUNTAIN FORM, THUS THE VIRTUOUS FORM, THE REPEATING IN PATTERNS, IN THE DUAL TRANSMUTANDO fount’s potentialities resolved, the resolved being the present external as well, into the bonded internal breath, the dual transmutando as into 235


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the internal measured-rhythming word breath repeating itself, thus on the fountaining axial system, are the friendly neurocenterns bonded in the word-seed patterns.

The feminine movement attempts to align to the world axis, thus, to hold the movement, THE ONE OUGHT to stay absolutely aligned to the profounder principle, the WILL THUS ALIGNING, AND PROJECTING ITSELF INTO THE WORLD. The SOUNDS, ALL the senses are aspects of the CREATIVE INTENT. THE PERCEPTION OF THE PRIMORDIAL INTENT IS BEYOND THE GUNAS. THE BODY HAS TO BE TAKEN BEYOND THE GUNAS. ALL PERCEPTION have to be known as such.

ALL ACTIONS ARE PERCEPTIONS OF THE CREATOR’S INTENT. ALL TRANSFORMATIONS IN THE WORLD ARE MANIFESTATIONS OF THUS. All STILLNESS IS. All internal perceptions, of breath, thirst, bodily perceptions, 236


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etc., are to be VIEWED AS THE PRIMORDIAL MAN’S PERCEPTION, the mundane perception replaced with the PRIMORDIAL ONE. Perceive the same as the CREATOR’S MOVEMENT, ALIGN IT ALL THUS INTO THE EXPANDING CREATIVE ESSENSE.

The intent dualizes into the active and passive as it enters the waters. Manifestation and Unmanifestation. Activity and Stillness. PLAY AND REPOSE. RISING AND DESCEND. EXPRESSION AND PERCEPTION. THE TWO PATTERNS OF ROTATION, ETC.

THE MASCULINE HAS TO HOLD THE WILL OF THE CREATOR –LEAVING OUT ALL OTHER PERCEPTION. THE FEMININE HAS TO BE AS RECEPTIVE TO THE CREATOR’S WILL, AS THE PRIMORDIAL WATERS ARE. NO RESISTANCE SHOULD BE PRESENT FROM HER END. ALL PERCEPTION OF THE WORLD HAS TO BE ANNIHILATED, AND REPLACED BY PERCEPTION OF 237


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THE CREATOR. THE FEMININE SHOULD UPHOLD THE PURITY OF NEW CREATION, LEAVING OUT ALL EXTERNAL. SO DOES THE MASCULINE ASSIMILATED TO THE CREATING PRINCIPLE.

THE CREATING SEED GENERATING THE REAL IS KNOWN IN INTERNAL SENSE MOVEMENTS. HOW THE SENSE AND THE SYSTEM MOVES, BONDED TO THE CREATOR, THE CCREATING PRINCIPLE BEYOND ALL NATURE.

SINCE THE PRIMORDIAL WILL MOVES THE PRIMORDIAL WATERS, AN ASPECT OF THE WATERS IS IN THE WILL. OR AN ASPECT ANALOGOUS BUT GREATER.

ALL SYMBOLS, ALL FORMS, ALL PERCEPTION, ALL INTENT, FEELING, IS TO BE UNDERSTOOD THUS. ALL EXTERNAL PERCEPTION HAS TO BE 238


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DISSOLUTIONED BY THE MASCULINE AS WELL. THE ENTIRE FOCUS IS ON THE FEMININE – THE WILL AS IT PROJECTS INTO HER.

All external, and all attachments, society friends, relations, family, all objects that invoke desire, alter the libido, avoid ALL THAT in the endeavor of THE GREAT WORK. THE WILL DOES NOT GET DISRUPTED IF POWERFULLY EXTENDING INTO ALL SPACES. THE ORGASM IS DISRUPTED WILL. THUS, HOLDING THE WILL, THE SEED IS NEVER LOST. THE SYSTEM IS IN A PROFOUND, TRANSFORMATIVE STATE. The state is employed by THE CREATING PRINCIPLE to transform the world.

The Bhagavat Gita says, in Chapter 4, Verse 7, यदा यदा नह धमास्य ग्िानिभावनत भारत । ् ु ािमधमास्य तदात्मािं सृजाम्यहम ॥४-७॥ अभ्यत्थ yadā yadā hi dharmasya glānirbhavati bhārata । 239


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abhyutthānamadharmasya tadātmānaṃ sṛjāmyaham ॥4-7॥ In a ideophonetic sense, to the author, Yada Yada is the expanding intent of the Creator. Hi suggests internal fountaining. Dharmasya suggests movement in alignment with the Cosmic Law, bharata is the Bha-Chariot, the Breath-Chariot, the anthropic form, the human body. Rata means chatriot, the Joy fount, etc. The fountain is the human form. With the Joy principle, it is the ever-renewing human form. Abhyuthanamadharmasya, has the sense destroying unordered patterns, the chaotic in the internal worlds, that which does not align with Dharma, the internal disruptives, and in another sense, the foutnain’s rising powerfully destroying all lesser forms, assimilating to the highest, beyond Created Nature. tadātmānaṃ sṛjāmyaham has the sense ideophonetically, in the author’s opinion, of “ thus is the Soul structured-formed in the body, in the self.” The principle by which the body is bonded to the source and retured is spoken of here. Needless to emphasize, the author merely refers here to a particular idea in the phrase, as per 240


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his personal perception.

पनरिाणाय साधूिां नविार्ाय च दुष्कृ ताम ।् ु यग ु े ॥४-८॥ ं ापिार्ााय सम्भवानम यगे धमासि

paritrāṇāya sādhūnāṃ vināśāya ca duṣkṛtām । dharmasaṃsthāpanārthāya sambhavāmi yuge yuge ॥4-8॥

The next Verse, Verse 8, Chapter 4, among other ideas, to the author suggests the idea of the movement in the renewal, of the Cosmic body, Speaks of the phenomenon happening from Yuga to Yuga, in the Cosmic body. The Good being taken across, the evil destroyed, Dharma being reestablished. The words are attributed to Lord Krishna, in the Gita.

The Sivananda translation of the two Verses say, 241


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Whenever there is a decline of righteousness, O Arjuna, and rise of unrighteousness, then I manifest Myself! ( Verse 7, Chapter 4, The Gita, translated by Sivananda ) For the protection of the good, for the destruction of the wicked, and for the establishment of righteousness, I am born in every age. ( Verse 8, Chapter 4, The Gita, translated by Sivananda) In Indian cosmology, there have been four yugas on this earth, the first one having been 1.44 million years long, in human years, the last one 360 thousand, the four yugas being in 4:3:2:1 proportion in length, according to a few ancient sources. Sources vary in their opinions on the length of Yugas.

The Bhagavat Gita, Verse 6, Chapter 4, says, अजोऽनप सन्नव्ययात्मा भूतािामीश्वरोऽनप सि ।् प्रकृ नतं स्वामनधष्ठाय संभवाम्यात्ममायया ॥४-६॥ 242


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ajo'pi sannavyayātmā bhūtānāmīśvaro'pi san । prakṛtiṃ svāmadhiṣṭhāya saṃbhavāmyātmamāyayā ॥4-6॥

Sivananda translates Verse 6, Chapter 4, of the Gita, as,

Though I am unborn and of imperishable nature, and though I am the Lord of all beings, yet, ruling over My own Nature, I am born by My own Maya. To the author, this suggests also the idea that the transformation is guided by the Will of the Creator. And thus is the Art is not ultimately of technique alone.

The word Māyā in Sanskrit is attributed the sense illusion, by present-day dictionaries. In Avestan, the sound suggests the idea of Magical Powers, of Magical Prowess. The Fifth Chapter, of The Gita, Verses 8 and 9, ् ु ो मन्येत तत्वनवत | ि ैव नकनञ्चत्करोमीनत यक्त ् 8|| पश्यञ्शृण्वन्स्पृर्नञ्जघ्रन्नश्नन्गच्छन्स्वपञ्श्वसि || ु प्रिपनन्वसृजन्गृह्ण्नण्न्ननन्मषनन्ननमषन्ननप | 243


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् 9|| इनन्द्रयाणीनन्द्रयार्ेष ु वतान्त इनत धारयि || naiva kiñcitkaromīti yukto manyeta tatvavit | paśyañśṛṇvanspṛśañjighrannaśnangacchansvapañśvasan || 8|| pralapanvisṛjangṛhṇnnunmiṣannimiṣannapi | indriyāṇīndriyārtheṣu vartanta iti dhārayan || 9||

The neural whole fountaining from the SOURCE, is the DOER, in that electric fountain abiding, one perceives the tattvas or th Eelements of Creation expand. Perception-seeing, HEARING of the Fountain, The Touch, Perception of the Scent – The Enlivening in Smell and Fountain Breath, Movement - Movement In the Fountain - Which Is All Transformation in Patterns of the Creative Will , Sleeping and Dream, Breathing, Expressing in Words, In Emitting from the Body, In Comprehending, In Awakeneing, In Repose to the Moment, In Unmishan – the awaken of perception or eyes, and Nimishan, the closing of eyes, withdrawal of perception into the profounder, The Indriyas, the Senses, The fountain comprehenders, In alignment with the meaning perceived by the sense, the Indriyartha, expands the 244


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Electrifying Water Fountain From THE SOURCE. THE BODY IN THE WORLD IS THUS TEMPERED IN THE NATURE OF THE WORLD, AS IT ENGAGES IN ACTION. TEMPERED IN MOVEMENT IN THE WORLD, IN MOVING IN THE WORLD BONDED TO THE CREATING SOURCE. . THE BODY BEING BONDED TO THE SOURCE IS EVER PERFECTED. THE STATE ESTABLISHED, IS ONE OF ETERNAL JOY. IN THE ABSENCE OF THIS BONDING, THE EXTERNAL MATTER, DEVIANT MATTER, MATTER NOT BONDED TO THE SOURCE, CAN ALL DISTORT THE FOUNT, DISTORT THE ACTION, DISRUPT THE THUS UNBONDED FOUNT. TO THE SOURCE, THE CREATOR, ALONE, IS THUS THE BONDING, NOT TO ANY ASPECT OF CREATED REALITY. ONE PERFORMS THE ACTION IN REALITY, AWARE ,AS THE CREATOR IS, OF ITS NATURE. THE AWARENESS, THE PERCEIVING OF THE WORLD, THE ACTION, CAN BE – WHILE BONDED TO THE CREATOR , THE SOURCE – POWERFUL, INTENSE, AS IT BONDS THE WORLD TO THE SOURCE, WHEN THE DOER IS THE SOURCE, THE ACTION 245


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AND THE PERCEPTION MOVEMENT, WHICH IS BUT ACTION IN DEEPER REALMS, AND ACTION-DRIVING IN HIGHER REALMS AS WELL, IS IN ALIGNMENT WITH THE CREATOR’S WILL.

१.५.३४ रजक-िानपत-मािाकार-गानन्धक-सौनरकु -गोपािक-ताम्बनू िक-सौवनणाक-पीिमदानभक्षक ् ् नवट-नवदूषकादयो नमिानण. तद ्-योनषि नमिार् च िागरकािः स्यरु ्इनत वात्स्यायििः. 1.5.34 rajaka-nāpita-mālākāra-gāndhika-saurika-bhikṣukagopālaka-tāmbūlika-sauvarṇika-pīṭhamarda- viṭavidūṣakādayo mitrāṇi. tad-yoṣin mitrāś ca nāgarakāḥ syur iti vātsyāyanaḥ. THE ONE WHO WASHES IN FIRE-water, REDUCING to the axis, the neural that drinks, that which generates the garland-floral circulatory blooming of matter, the generator of perfumes and fragrances, the neurotransmitters, the 246


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breath variants, INCLUDING THE the neurobonding with the earth materia, THE TRANSFORMATION OF ROOTED CIRCULATION, into the neural, the higher fountaining centers, the bonded with the HIGHER HEAVENLY, the dualistically fountaining that which is the driver of breath movement, of dissolutionary expansion of seed form on the axis, the protector-preserver of the transmutando forms, the sheep, the cattle, the leaves extending from the axis, which births perception int eh peripheral, the generators of myriad beauty and gold-like perfect forms, that which in beats potential rhythming circulatory beats in the chambers affects the fountain, and its merging aspects, that which furthers the fountain expansion after such transformatory beats, that which in joyful, JESTERous, WITTY, BUFFOONISH patterns drive the transmutando, while merging it to the PROFOUNDEST, these are the friendly forms, TRANSFORMING FROM THE URN. THUS FORMING THE FEMININE IN THE SYSTEM, AND THE MITRA-FRIENDLY PATTERNS, WITH THE NEURAL 247


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CENTERS PERCEIVING, PERCEIVING THE DELIGHT, OF THE FOUNTAINING OF THE VATSYAYANAH VASE.

् १.५.३५ यद ् उभयोिः साधारणम उभयिोदारं ु नवर्ेषतो िानयकायािः स:नवस्रब्धं ति दूत-कमा. 1.5.35 yad ubhayoḥ sādhāraṇam ubhayatrodāraṃ viśeṣato nāyikāyāḥ su:visrabdhaṃ tatra dūta-karma. Thus, OF THE WIND BEING GIVEN FORM IN DEFINING BEATS, of dual nature, as the breath from the urn, the nature of the serpentining from the URN, THE triadically flowing in BOTH DIRECTION, THE STREAM OF SUCH NATURE, MOVING THROUGH THE DEFINING CHAMBERS,THE DARAM, THE SEED MANIFOLDING FLOW, THE FEMININE, OF DISTINCT DISSOLUTIONARY NATURE, OF SPECIAL NATURE, THE NEURAL GUIDING FEMININE, THE FEMININE STREAM IN THE NEURAL, 248


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harmonizing the seperated in the wind water fountain, of that transformatory nature on the axis, is the DUTA ACTION. THE ACTION OF THE NEURAL SIGNALLING.

THE ACTION MERGES TO THE SOURCE.

् १.५.३६ पटुता धाष्ट्र्यम इनङ्गताकार-ज्ञता प्रतारणु काि-ज्ञता नवषह्य-बनद्धत्वं िघ्वी प्रनतपनत्तिः सोपाया च 1.5.36 paṭutā dhāṣṭryam iṅgitākāra-jñatā pratāraṇa-kālajñatā viṣahya-buddhitvaṃ laghvī pratipattiḥ sopāyā ca STRONGLY PERCEPTIVE OF the transformative potentialities projected into the real, STRONG AND AUDACIOUS IN WILL, GESTURES PERCEIVING, INTERNAL FOUNTAINING MOVEMENTS OF THE SEED PERCEPTIVE-KNOWING, THE ELECTRIC MOVEMENT 249


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DRIVING THE SEED PERCEIVING, ASSIMILATING IN PERCEPTION TO THE HIGHER , THE ACT OF CARRYING MATTER ACROSS THE WATER STREAM KNOWING, THE MOVEMENT DECEIVING ALL MANIFEST, in discerned thinking, of the dissolutionary breath subjects, THE POISON NEUTRALIZING INTELLECT, OF EASY TRANSFORMATIVE NATURE, OF SUCH PERCEPTION, OF SUCH EFFECT, DRINKING TOGETHER THUS FROM THE INTERNAL MUD VASE, THE COSMIC WATER POOL.

् दूत-गणािः. ु १.५.३६च इनत 1.5.36c iti dūta-guṇāḥ. FOUNTAINING thus in the axis, alectrifying the worlds, thus is the DUTA NATURE, the numerical manifest nature of the message transmitories in the nueroaxis of an ideal world.

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१.५.३७ भवनत चाि श्लोकिः. 1.5.37 bhavati cātra ślokaḥ. Generates from the four natured mud vase the waterfountain verse, on the axis, here.

् ् ् ् ु भावज्ञो देर्-काि-नवत. ् अ:िभ्याम अप्य १.५.३७व आत्मवाि नमिवाि य् क्तो ् अ:यत्नेि नस्त्रयं संसाधयेि िरिः.. 1.5.37v ātmavān mitravān yukto bhāvajño deśa-kāla-vit. a:labhyām apy a:yatnena striyaṃ saṃsādhayen naraḥ.. The innermost being, the soul of ALL,the neurocenters in the body in friendly bonding, Mutually, and thereto to the highest, perceptive of forms, the fountaining portions, and time, and their absence, the illusion in time space separating, its generation of seed movement, the birthing of perception of that, the knowing the heart, thus, in that dual transmutando is gained the fountaing of potentialities in water, and fire, both being dual aspects of the same, in that dual transmutando the will acting neurally, births from the 251


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water-feminine, in accomplishment, the neural man, the newly generated in perception.

् श्रीवात्स्यायिीये कामसूि े साधारणे १.५च इनत प्रर्मे ऽनधकरणे िायक-सहाय-दूती-कमा-नवमर्ािः पञ्चमो ऽ्ायिः..निव्रे २ सांप्रयोनगकं नितीयम ् अनधकरणम ् 1.5c iti śrīvātsyāyanīye kāmasūtre sādhāraṇe prathame 'dhikaraṇe nāyaka-sahāya-dūtī-karma-vimarśaḥ pañcamo 'dhyāyaḥ..livre 2 sāṃprayogikaṃ dvitīyam adhikaraṇam

This is Vastyaayna vase fountaining principle’s Kamasutra’s Fountain’s Generalities, and Seed foundtaining nature, the first aspect, its five fold nature, िायक-सहाय-दूती-कमा-नवमर्ािः , THE STUDY OF neural propogation and its return, and its 252


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role in the system. How the hero, the neural guiding is aided, and action of the tramutando darts, in action, returning to the source, the PRIMORDIAL ACTOR. The neural messengers generating a space of transformative will, and return of external perceived reality to the source.

Notes,. 1. PREVENT overflow by transforming the overflowing into one's signature. Assimilate the matter tending to overflowwe (verb.) 2.Orgasm is insuffient will. Insufficient WILL penetrating ALL OTHER FORMS. THEN THE ground moves the body. A WILL PENETRATING ALL IS WHAT IS NEEDED to TRANSCEND. 3. Transform the women in your signature. Depending on the nature of the women, the position given to her, this transformation is different, perhaps. BUT NATURALLY PROJECT YOUR WILL INTO HER. AND SHE WILL BE OBEDIENT TO HER NATURAL ROLE. IF YOU ARE 253


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LETTING HER IDEAS INFLUENCE YOU, IT IS THE OTHERWAY ROUND. The will kann be profound, kind, loving, yet strong, expansive. Or of any pattern that works. In the dance, one allows the fountain to express itself, one the will is projected. The pattern is repeated.

4. In profound repose to the signature is the transmutando in an ideal state. The feminine is to be made to align to it. She reflects one’s movements. The will must hold her profoundly near. 5. A POWERFILL WILL. HIGH ENERGY LIGHT MATTER OVER THE PHALLIC AND THE SPINAL AND THE SYSTEMS THERE. PROJECTED ENERGY OF ONE’S SIGNATURE. HIGHER ENERGY THAN THAT OF THE WORLD AROUND. THAN THAT OF THE FEMININE AROUND.

6. DISSOLVE AND RECREATE IN ONE’S SIGNATURE. SIMULTANEOUSLY. THAT PROCESS OUGHT TO BE 254


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ACTIVE ON THE WORLD AROUND AND IN ONESELF ALWAYS. POWERFULLY. THE IDEA WHOULD PENETRATE VERY ATOM. 7. THE DICK IS LIKE THE CEREBRO SPINAL. WHAT SURROUNDS IT IS THE WATER IN THE PROCESS. THE WATER IS WHERE CREATION TAKES PLACE. THE CREATION MUST PROCEED IN ONE’S SIGNATURE. SO SET UP THE LIGHT PILLAR IN THE DICK, AS IT SHOULDBE SET UP IN THE CEREBRO SPINAL AXIS AS WELL. COVER IT WITH HIGH ENERGY WATER IN YOUR SIGNTURE – THE ENTIRE CENTRAL ASPECT, AND THE PROJECTION ASPECT, THE VESSEL, ETC. LET IT RISE THROUGH THE MIDDLE A STRONG PILLAR. AND LET IT BE PRESENT TRANSFORMING ALONG THE DICK AND BALLS AS WELL. IT ARISES FROM THE PLVIC VASE. 8. EACH PART OF THE BODY HAS A MEANING. THE TOUNGE IS THE FLAME-FIRE, WORD GENERATOR. APPLYING THE TOUNGE TO THE VAGINA AND 255


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GENERATING WATER MOVEMENT THERE IS, THUS OF PROFOUND MEANING. THE BREASTS ARE THE MOURISHING. 9. THE PERCEPTION OF EACH PORTION OF THE BODY SUGGESTS ITS MEANING.

10. THE FORM OF THE CELLLS, THE PATTERN OF NEURONS IN A PORTION SUGGESTS ITS MEANING, AND VICE VERSA.

11. AS THOSE PARTS ARE PERCEIVED, THE ENIVENING SEED IS ACTIVATED IN THOSE ASPECTS, PEHAPS. THE SEED REFLECTS THE NATURE OF THE CEREBRO SPINAL. 12. THE SCIENCE OF SOUND, THE SCIENCE OF MOVEMENT, IS THUS, WHAT NOURISHES THE PATTERN. 12 A. THAT WHICH IS THE SEXUAL PERCEPTION IS 256


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THUS MAPPABLE TO SOUND, FORM, ETC. EITHER WAYS.

14. TO UNDERSTAND THE UNIVERSE, WE MUST STUDY HOW THE SEED IS TRANSFORMED GENERATING THE PERCEPTION OF THE BODY. THE PROCESSES PERCEIVED IN THE EXTERNAL UNIVERSE AS WELL. 15. STUDY AIR MOVEMENT, FIRE MOVEMENT, WATER MOVEMENT EARTH MOVEMENT, THE STRUCTURE, THE METAL, ETC. ALONG DIFFERENT AXIS, ONE MAY MAP THE SOUND. DO THE SAME IN THE ACT OF UNION. 16. the seed MUST BE COMPRESSED SIGNATURE, THAT EVOLVES OUT IN THE RHYTHM OF THE WORLD WATER THAT HOLDS IT. THE RHYTHM, THE PROFOUND NATURAL RHYTHM IS REPEATED IN THE FEMININE TO RECREATE ONESELF. 257


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17. EVERY PERCEPTION,INCLUDE TIREDNESS, FEARS, VISION, AND ALL PERCEPTION, IS FORM, THUS IS SOUND, OR RATHER MOVEMENT THAT CAN BE UNDERSTOOD WITH THE SENSES, AND CAN BE REPLACED WITH THE FUNDAMENTAL SEED FORM, SIGNATURE MOVEMENT, THE ORIGINAL MOVEMENT, THUS RENEWING. 18. THE RENEWING SOUND, IS THE SEED PROJECTED WHOLLY INTO THE SYSTEM.. ALL ASPECTS. ALL PHYSICAL NOTIONS OFFER INSIGHTS AS f=ma, D2(PHI)/PHI IS PROPORTIONAL TO E-V. Individual will displacing all others is the perfect transmutando , THE SYMBOLS OF PHYSICS ARE UNCONSCIOUS SEXUAL SYMBOLS. PV=NRT, SAY, IS ABOUT HOW THE POTENTIAL PRESSURE ACTING IN THE VASE, increases transformative temprature, or deals with an additional amount of matter. P is the projected higher will, and V Is the receptive scaral vase. Cranial projectories, and the Sacral receptacle. Which are analogous to the The Phallus and the 258


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Vagina, in a dual ordering.

19 I THINK A LANGUAGE OF THE BODY IS FIRE BELOW, EARTH UNDERNEATH WATERS AROUND, AIR CIRCULATING AND AIRIFIED ABOVE. 20. DISTILL BALROG

21. Feel the rhythm of the deeper you as it moves in the external phenomenon. The external phenomenon is what you perceive. In the act, the women. Adhere strictly to this rhythm. Increase its pace. Study it. Never hurry. Never moved by external rhythms.

22. Understand the rhythm of your movement as that which generates all external perception. The perception that the women is.

23. Start moving slow, steady rhythm. Boldly stop when needed But study this movement as your inner rhythm. 259


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Always emphasize this perception and this study. This language, the beats, the rhythm, the meaning. 24. Study the beats as music. Add flavor and strength to each beat. Power, essence, transformative intense strength .GO beyond these words. Go beyond FORM. INTO PROFOUNDER PLAY BEYOND FORM.

THE ACT OF LOVE, is the projection of the CREATOR’S WILL INTO THE FEMININE WATERS. The WILL IS EXPANDED OUT, projected, not a superficial kind of bonding. A bonding that which reduces to the CREATING PRINCIPLE. EXPLORE AND UNDERSTAND. HOLD THE WILL OF THE CREATOR. THE ACT EXPANDS THE IMPULSE INTO THE EXTERNAL WATER-WORLDS. IN LOVE, FREE OF SUPERIFICIAL MOVEMENTS, THE WILL SOARS, RISES HIGH. THE PRINCIPLE OF HAVING THE WILL PROJECT THE CREATOR’S INTENT APPLIES IN THE PROCESS OF LOVE. THE PURE FEMININE IS A GOOD INDICATOR, A GOOD MEASURER OF THE 260


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ALIGNMENT OF THE EXPRESSED TO THE PRIMORDIAL. PERHAPS, IN BETTER WORDS, THE REFLECTED, IN THE PURE FEMININE, PERCEIVED, WHEN BONDED TO THE CREATOR IS THE MEASURE AND THE GUIDE, THE DRIVING IN THE ACT. EXPLORE DIFFERENT PATTERNS. THE IDEAL FOR THE ART, MAY PERHAPS BE JUST TO HOLD THE WILL AND LET THE PLAY UNFOLD AND PROCEED. THE WILL BONDED TO THE SOURCE ACTS NATURALLY, IN PLAY-REPOSE. START WITH SIMPLE YADA-YADA MOVEMENTS, CONSCIOUS, OF EXPANDING INTO the feminine, breaking through the external perception. Replacing all external perception thus. In the play, BE FREE AND UNRESTRAINED, OF ANYTHING, OF ANY NOTION, OR IDEA, AND HAVE AN ABSOLUTE BONDING WITH THE CREATOR261


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SOURCE. LET JOY BE UNRESTRAINED. THE ONLY PERCEPTION HERE, IS PATTERNS OF THE CREATOR, HIS MOVEMENT IN THE FEMININE, ETC. AND THE AWARENESS OF THEM, ETC. THE TRANSFORMING OF THE BODY INTO THE PATTERNS OF CREATOR’S MOVEMENT. A MORE INTIMATE MERGING, WITH THE CREATOR, AND OF THE WILL WITH THE EXTERNAL FEMININE. OF PROFOUNDLY LOVING HER. THE MOVEMENTS EXPLORE ALL PATTERNS – ALWAYS THERE IS INTENSITY, POWERFULNESS, STRENGTH, WITHIN THE PATTERN. INTENSITY THAT OVERPOWERS THE WORLDS. EVEN IN GENTLE MOVEMENT, THERE IS INNER INTENSITY AND STRENGTH, NATURALLY, AS THE PERCEPTION WITHIN IS OF THE CREATING ESSSENCE, THE CREATOR, THE CREATOR’S WILL AND SO FORTH. THE MOVEMENT, THE BODY ALL BECOMES ONE WITH THE SOURCE.

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THE STRENGTH IS TO BE MADE APPARENT IN EXTERNAL MOVEMENT. IT SHOULD BE DYNAMIC, POWERFUL, JOYOUS, NOTHING OF REALITY RESTRAINING IT. OF AN INTENSELY PROJECTED WILL. A FEIRCE PROJECTION. THE PLAY THAT ALIGNS TO THE PRIMORDIAL IS PRIMORDIALLY WILD. NO NOTION OF CREATED REALITY INTERFERES THE PLAY OF THE CREATOR. 25. Extend this to external life. Be powerfully in your perception. In your profounder beats. The profounder neural beats are you. 26. Study the women as emerging-extending from your beats. 27. Be in your profounder beats in life. In making descisions. 28. Keep the WILL rising HIGH. The pillar up from the heart between the legs. The light pillar. The nature of it. Order it in your nature, your profounder beats. This extends to every 263


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every cell in the body. The seed signature thus bonds with the body signature and the seminal is reabsorbed. The pillar should rise to Heavens and descend into Earth. 29. The seminal matter has the signature of new creation. [when the being is bonded with the CREATOR] 30. Semen gets absorbed into the cell, fecunds each cell. Generating birth and recreation in those worlds. So the signature of it, each cell is the same, in different expressions. So is each sound, perception, word, the seminal in different expressions. The nature of the creative principle.

31.Perceive and study this. What each sound and movement of perception does to the seed on the cell, the sperm on the ovum, the seminal on the body. 32. Study THE beats as transforming the seeds generating all external phenomenon. Proceed in action to intensify the transformation, in the patterns of the beats. THIS IS FOLLOWING NATURE. 264


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33. The form of the body, the vigour are all differentiated expressions of the profounder beat. Take the new beat, apply the seminal, to transform the body. TRANSFORM SEXUAL NATURE THUS. HOLD THE NEW BEATS AND THE SEMEN.. ABSORB INTO ALL CELLS. 34. Health is immovability from the profounder beating. 35. Penetrate the disease, its nature, with your profounder nature, transform. Study it in your fountain form. Fix the fountain movement, its alignment to the CREATING WILL. Remedy the tendency of deviated perception. TRANSFORM IN THE INNER EXPANDING BEATS OF THE CREATING PRINCIPLE. REPEATEDLY MOVING THE EXPANDING IMPULSE INTO THE SPACE, THE ASPECT IS ORDERED. THE ASPECT MAY THUS BE STUDIED IN ONE’S FOUNT, THE INNER FOUNTAIN ASPECT, THE WILL FOUNTAIN THUS ORDERED IN THAT ASPECT. THE GOAL IS TO GENERATE BONDING WITH THE SOURCE IN THAT ASPECT AS WELL. STUDYING THE SAME IN VARIOUS SENSES, AS THE CREATOR’S PERCEPTION, PERCEIVING 265


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WHILE BONDED ABSOLUTELY WITH THE EXPANDING CREATOR. THE ONE APPEARING AND DISAPPEARING IN A RHYTHM.

STUDY NON-TRADITIONAL SENSES AS WELL, AS PROPRIOCEPTION THE SENSE OF BODY’S ORITENING IN SPACE, RELATIVE ORIENTATION OF BODY PARTS; THE SENSE OF PRESENSE OF THE PARTS OF THE BODY, TEMPERATURE, ETC. THE VESTIBULAR SENSE ASSOCIATED WITH THE EAR SYSTEM, THAT ALLOWS BALANCE, EQUILIBRIOCEPTION, SENSE OF DIRECTION AND ACCELERTION, THE ABILITY TO MAINTAIN EQUILIBRIUM, ETC. NOCICEPTION ,PERCEPTION OF HUNGER, OF THE ACT OF RBEATHING ITSELF, OF PULMONARY STRETCH, VOMERONASAL OR ANALOGOUS AS THE PERCEPTION OF VARIOUS PHEROMONES AND HORMONES, ETC. THE SENSE OF GRAVITY. THE SENSES OF ELECTROCCEPTION AND MAGNETOCCEPTION, found in animals, we may assume 266


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exist in a form or another in humans. PRESSURE DETECTON, WATER CURRENT DETECCTION, POLARIZED LIGHT DETECTION, ELECTIC PULSE DETECTION, SLIT SENSILLAE – WHICH IS MECHANORECEPTION FOUND IN THE EXOSKELETON OF SPIDERS, PLANTS SHOW SENSITIVITY TO LIGHT, GRAVITY – GENES BEING FOUND THAT ARE NECESSARY FOR A PLANT TO SENSE THE DIRECTION OF GRAVITY .TEMEPRATURE, HUMIDITY, chemical substances, chemical gradients, reorientation, magnetic fields, infections, damage to their tissues and mechanical pressure. Proprioception, FOR INSTANCE INVOLVES FOUNTAINING OF INFORMATION TO the parietal cortex of the brain. The water rhythms in the water spacces surrounding the neural also perhaps plays a key role in neural beating, the signature patterns formed in the neural, the pathways eventually structured, in the driving of action, etc. 267


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The anatomical and neural structuring of the sense systems, their location in the body, all offer insights into their nature, the nature of the particular sense, which elemental factors it is more adapted to perceiving. The elements of reality have their rooting in the sexual-neural impulsing. The dual natured perception of the world. In patterns of the JOY FOUNT’S IMPULSING of water. PERHAPS. THE IDEAL PATTERN OF STUDY, IS TO STAY BONDED WITH THE CREATOR, AND PERCEIVE ALL PHENOMENON AS HE DOES.

THE SENSES – EYE, HEARING, ETC., ARE ALL SEEN ASSOCIATED WITH THE SPINAL AS WELL IN ANCIENT THROUGHT. THE EYE US A SYMBOL OF MERGING. OFTEN IN ANCIENT CHINESE SYMBOLS, THE SACRAL DIPPING INTO THE PELVIC IS AS AN EYE BELOW. THIS REFLECTS INTO MODDERN WRITING AS WELL. THE POSITION OF THE EYE IN THE SYMBOL, PROBABLY 268


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SPEAKS OF WHICH EYE IS BEING REFERED TO.

THE FORM OF THE EYE WERE SEEN AS A SYMBOL OF SEXUAL UNION. The nerves leading from the eye form a BONDED X AS THEY TRAVEL TO THE OCCIPITAL LOBE, AND THEN PERCEPTION IS PROJECTED TO THE PINEAL, WHICH IS STRNGLY ASSOCIATED WITH THE AXIAL. THE VISION AXIS SUGGESTS THE ELEMENT OF AIR MOVEMENT IS MINIMAL, IT IS WATER MOVEMENT DRIVEN BY SAMPLING OF ANIMATING FIRES. HEARING PROJECTS INTO THE BRAINSTEAM AND ACTIVATES AXIAL AIR MOVEMENT, MOVEMENT OF THE AIR ELEMENT WHICH MOVES BETWEEN HEIRARCHIES. THE LANGUAGES OF MAN, THE SOUNDS THEANTHROPOS MAKE IN RESPONSE TO PHENOMENON, ALL HAVE HINTS INTO PROFOUNDER REALITY. THE SOUND MOVEMENT ACTIVATES THE ENTIRE BODY – THE ENTIRE WORLD, BONDED TO THE HIGHER-ORDERING CERERBAL SPACE. 269


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THE SYMBOL FOR VISION, EYE, IN THE SHUO WEN SAYS,

AND SEEMS A SYMBOL OF CIRCULATION IN DUALIZATION. THE AXIAL VISION IS THE PRODUCT OF INTERNAL HEAVEN-EARTH CIRCULATION. THE EXPLANATION FOR THE EAR MAY BE READ AS, THAT WHICH LISTENS TO THE LORD,

THE EAR SYMBOL SEEMS TO SHOW NEURAL CHANNELS. MERGE IN A UNION-SPACE. THERE ARE OTHER WAYS IN WHICH THE SHUO WEN EXPLANATION MAY BE READ .

THE CELLS, THE INDIVIDUAL NEURONS ALL HAVE THEIR ANTHROPIC NATURE. NEURONS BIND HEAVEN AND EARTH FOR INSTANCE. THERE MUST BE INTERNAL NEURAL NETWORKS IN THE CELLS. IN FRACTAL SPACES. The symbol NOW ASSOCIATED WITH the hand, which is by form the input nerves to the spine, and the output nerves 270


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from the spine,

ARE EXPLAINED AS THE TRAIDIZING. THE EXTERNAL IS SAMPLED AND TRANSFORMED INTO CONSTITUENTS, PERCEPTION THAT ALLOWS TJJE MATTER OF EARTH AROUND, INTO WHICH THE SACCRUM DIPS, TO BE TRANSFORMED. THE FORM OF THE TWO LEGS LEADING TO THE SACRUM, THE SKELETAL FRAMEWORK PROBABLY MOVES EARTH MATERIA TO THERE. THERE IS FORM AND MEASURE OF ANTHROPIC BODY GENERATING THE SEPERATING AND UNIONING RHYTHM.

THE SYMBOL FOR THE RIGHT SIDE, 右 IS ASSOCIATED WITH THE NERVES ORDERING TO THE SACRAL WORD,

AND THE LEFT左, WITH A STRUCTURING AXIS BONDING HEAVEN AND EARTH,

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THE IDEA OF SACRAL AS THE FEMININE, THE RIGHT, AND THE AXIAL AS THE MASCULINE LEFT, PERHAPS. ANATOMY OFFERS HINTS. THE UPPER ARM AHS ONE BONE, DUALIZING INTO TWO AT THE LOWER ARE. THERE ARE 8 CARPAL BONES. 8 BEING AN IMPORTANT NUMBER IN ANCIENT COSMOLOGIES, AND A SYMBOL OF FOUTNAINING. THERE ARE FOUR METACARPALS, AND 5 TIMES 3 SETS OF FINGER BONES. THE TRAIDIZING NATURE OF PERCEPTION BY TOUCH IS REFLECTED HERE. The author BEARS the opinion that the lowest bone, the bone underneath the visible thumb is not to be counted as a metacarpal, but as part of the thumb itself, judging by that it moves as a whole with the thumb, unlike the metacarpals – which move far less than the finger itself. The idea that the thumb had only two bones worried physicians in the ancient schools of anatomy.

THE BONES OF THE LEG SHOW THE

SYMBOLIC MERGENS OF THE TWO TO THE ONE AS IT POURS INTO THE PELVIC VASE TO BE MIXED WITH 272


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SEEED VAPOURS AND STUDIED AXIALLY IN ITS TRANSFORMATION. COMPREHEND THE BODY AND ITS PARTS, HOLDING THE CREATING WILL, UNDERSTANDING THEM AS THE CREATOR’S MOVEMENT, THOUGHT, AND WILL. THE COMPREHENDING MOVEMENT ORDERS TO THE HIGHER CENTERS, THE BRAIN, THE SUN-FRUIT, IS PERHAPS THE GAINING OF THE ENLIGHTENED STATE. WHEN ALL WORLD AND PERCEPTION AR ORDERED THUS, TOGETHER WITH THE BODY, THE COSMOS.

Often, in affecting a transmutando, the palm is held with the base down the 5 against 8 movement is musical, is affecting a dissolution, and anthropic rise. The movement of the fingers reflect axial perceptions and the gestures and movements may thus be studies. Also hand movements generate meaning, in dance forms, etc., the realms between which the hand moves, etc. In belly dancing, the belly is the 273


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digestive portion, the waters of the COSMOS. IT REFLECTS GENERATIVVE BEATINGS THERE. THE MEANING OF LAYERS ARE OF THE ORGANS THERE, THE ORGANS THE NERVES OF THAT LAYER INNERVATE, ETC., PERHAPS. THE NEURANATOMICAL ORDERING THAT ENDOWS MEANING TO THAT SPACE, IS PERHAPS THE MEANING OF THAT SPACE. FORM AND FUNCTION REFLECT MEANING. ALL FORMS MERGE IN PERCEPTION TO THE BODY – PERCEPTIONS AND FORMS ARE THUS ANTHROPOGENERATIVE. There were a view that the embryo takes the form of different animals as it evolves to the human form. TO SAY MAN EMERGES FROM THE MONKEY IS ERROR, BUT THE MONKEY PERCEPTION IS INTERNALLY PART OF THE EVOLUTION. Even false theories as Darwinism offer insights. It IS from a watery space, as a unicellular form, that evolution of man starts. But such evolution is precisely guided by the system, by the seed, and not random mutation. There is no ordered stratification of fossils from 274


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simple to complex organisms, missing links remain missing links but for a few anomalous fossils which are masqueraded around for a while as, say, the man-monkey link and then dismissed. A SIGNATURE NEEDS ITS WATER SPACE TO MOVE, THAT IS THE FEMININE WORLD OF THE SIGNATURE. Such a world is where creation is. Such a world is the COSMIC BODY, THE WOMB, THE PPRAKRITI. 36. The sound is also perhaps movement on the neural plate. Movement on the tongue. Movement on the back of the body, all of which are analogous in form .It is also perhaps the transformative movement in the cells, in the IMAGINARY axis of every cell and organ.

37. The DICK being like the spine, its flow, waters surrounding it, is analogous to waters around the spinal axis. Lift up the waters on the spinal, cover the dick with the feminine waters, while generating the upward movement, both are analogous, the system rejuvenating. 275


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38. KINGDOMS ARE CONQUERED in the real through war, bruning and killing. Destruction and reduction to one’s own signature. 39. The Kingdom must be burned by fire water and will, and reconstructed in signature patterns of one’s own every once a while, frequently. 40. Social networks are like neural networks. Maps of the Universe reflect the order of neural networks.. To quote from Nature's Scientific Reports, "The universe may be growing in the same way as a giant brain -- with the electrical firing between brain cells 'mirrored' by the shape of expanding galaxies." “Natural growth dynamics” are seen to be similar for different kinds of networks. The nature of the universe as we perceive it is the ordering of our brains. Which has its order in the numerical that we perceive. All the processes set in place by perception of the number 1, say. From the perception of what the number does in the human body, all phenomenon may be understood, perhaps. All systems are the seed perceived in differentiated aspects. All 276


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forms are filters on a temple. A filter is a numerical signature. The filtering exists from the nature of bonding with the Source. THE SOURCE BEING THE ONLY CONSCIOUS PERCEIVING. THE NEURAL ORDERING IN THE HUMAN BODY LEADS TO DIFFERENT PERCEPTION OF DIFFERENT PARTS. ALL PERCEPTION LEADS IN NUMERICAL TRANSFORMATIVES BACK TO THE HIGHERORDERING BRAIN. THE BONDING HERE IS KAMA, THE WHOLE NEURANATOMICAL SYSTEM. ITS ORDER PERCEIVED AND ALIGNED TO IS DHARMA, ALIGNING WITH ITS EXPANSION, IS ALIGNING TO ARTHA, PERHAPS. THE WILL GENERATING MATTER, THAT WHICH FOUTNAINS THE SEED IS INFUSED INTO THE SYSTEM, THE WATERS, GENERATING THE PERCEPTION OF INDIVIDUAL WILL. THE SEED IS FOUNTAINED, GENERTING INDIVIDUAL PATTERNS, THE ILLUSION OF FREEWILL in ACTION. WHEN THE WILL ALIGNS WITH THE CREATING PRINCIPLE, THE SIGNATURE PLAYS ITS ROLE. THE SYSTEM HAS UNBONDED MATTER, THE MATTER TO BE TRANSFORMED, FOR WHICH THE SYSTEM WERE CREATED. THE MATTER TENDS TO DISRUPT – INTERFERE WITH THE FUNCTIONING OF THE 277


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WILL-MATTER. THE CREATING BEING PROJECTING HIS THOUGHT AGAIN INTO REALITY THUS BECOMES RENEWAL, REORDERING . The movement of the seed between the bonding matter, and disrupting matter is the illusion of effort. Aligned, bonded to the

PROFUNDEST, ONE BREAKS AWAY FROM THE PATTERNS. Note that in translating the term nAgaraka-, I associated it with neuralspacces. In a general sense nAgara means city in Indian languages. After having done the translation I happened to chance on an article on livescience.com, which quotes Neurobiologist AT THE Rensselaer Polytechnic Instituteas saying, "When scaling up in size and function, both cities and brains seem to follow similar empirical laws," "They have to efficiently maintain a fixed level of connectedness, independent of the physical size of the brain or city, in order to work properly. “ "Natural selection has passively guided the evolution of mammalian brains throughout time, just as politicians and entrepreneurs have 278


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indirectly shaped the organization of cities large and small." "It seems both of these invisible hands have arrived at a similar conclusion: brains and cities, as they grow larger, have to be similarly densely interconnected to function optimally."

The external phenomenon of all scales have their internal mapping. 41. BREAK THROUGH DISRUPTIVE emotions. Lay low, penetrate through. TRANSFORM IN THE INNER EXPANDING MOVEMENT OF THE CREATING PRINCIPLE. THE MATTER OF THE WORLDS ARE CONTINUALLY CONSUMED AND MADE UNAMNIFEST IN THE RISING AXIS. AND SO IS THERE A CIRCULATION DOWNWARD, PERHAPS. MATTER TRAIDIACLLY TRANSFORMED IS CONSUMED IN SAMPLING BY THE BRAIN, BY THE BONDED, HIGHER SUN-MOON. MATTER SAMPLED SUCH IS 279


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HAD OR EATEN FURTHER BY THE SYSTEM. The ancient Chinese form, now attributed the sense “to have,� is explained thus, in the Shuo Wen,

to understand the sound of a form, map the spinal phenomenon manifast as the creator perceives it to sound elements of the language. The sound, in itself, is that movement. To understand what pronunciation a symbol may have in a language, map this to elements of that language. There are just a limited set of sounds in a language such as Chinese. Tones suggest nature of movement. One may as well understand the sound as the projected will of the creator, generating the symbolic phenomenon. The symbol has the sense, NOTHING, UNMANIFEST, ETC., IN PRESENT USAGE, and is explained thus,

280


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The symboläš&#x;

Seems a symbol of transformation as indicated by a circular form in the pelvic-sacral area. The most natural perception of the process in sound is Ye, the pronunciation in modern Chinese is Ye, in the third descending-rising tone. 2. penetrate the will into earth.. lower realms.. deep into the vase.. and PROJECT IT OUT.. 43. HAVE VIRTUES LIKE COURAGE, WISDOM, STRENGTH, PATIENCE, ETC. , SEXUALLY. THE ROOTED JOY PRINCIPLE being established, the transmutando being always there, etc., is of the greatest importance. 44. Every attachment transformed in the vase, generates its inverse quality. 45. Reprogram the brain. The cerebro-spinal. The dopaminereward circuitry, say, activates to attempt to bond with the higher cerebral centers perhaps. A flaw in the algorithm is 281


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the system thinks orgasm kann be used to generate the same. Dopamine peaks and drops, disorders the entire system, the bonding to the higher is lost, not established, the seed matter that is the flow to the higher, the jing streams, the seminal streams run dry. The seminal has what is needed to reprogram the circuitry. The seminal is transformed as one stays bonded with the CREATOR. The seminal matter is thus precious. IT NATURALLY REPROGRAMS THE BRAIN.

46. Don’t keep the energy of the pelvic-sacral area closed. Movement, SAY, along the back upward is important. In refreaining from the orgasm, the state has to be greater alignment with nature, not one of staying blocked – the barriers need to be broken through. THE NATURAL STATE OF SEMINAL SIGNATURE BEING TRANSFORMED, RISEN UP INTO HIGHER SPACES, THROUGH THE JOY FOUNTAIN, THE AXIAL WATER FOUNTAIN, THE AXIAL PILLARS, AND EXTENDED OUT INTO THE 282


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EXTERNAL, needs to be maintained. NO PORTION OF THE BODY SHOULD BE ALLOWED TO STAY IN A RESTRAINED STATE FROM THE NATURAL TRANSFORMATIVE FORCE – THE PROFOUNDEST NATURE’S TRANSFORMATIVE FUNCTIONING. A major error seems to save the seed, but the perception is one of a man IN FEAR OF LOSING JING – AND THROUGH TECHNIQUE AND RULES THIS IS ATTEMPTED. THE PERCEPTION SHOULD BE OF THE PRIMORDIAL MAN, OF THE CREATOR ALONE, THE BODY AND THE WORLD VIEWED IN THAT FREEDOM.

47. THE MAN EVOLVES FROM THe PELVIS

48. STUDY THE SONG OF THE CANARY – IT CRYSTALLIZES FROM CHILDHOOD TO ADULTHOOD. 49. FIND YUR SONG.. CRYSTALLIZE IT IN MOVING IN THE FEMININE. 283


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50. AFTER A MATING SEASON THE CANARY PICKS UP NEW PATTERNS. LIKEWISE CREATE THE ANTHROPOSES IN YOUR IMAGE. THEN ENRICH THE MUSIC. STEADY. STEADFASTNESS, STARTING WITH SLOW AND SIMPLE RHYTHMS. 51 THE MUSIC IS PLAYED BY THE SACRAL INSTRUMENT. THE SACRAL MOUTH. SEE THE ANCIENT CHINESE FORMS

(tHE WORD WU, 悟 speaks of the state to be always in. The heart and axis on left, the word generator, the sacral mouth on the right, along with the dissolutionary five above.

hold the TE XING特性 IN the HEART. let teh seed transform the heart. THE HEART IS PARAMOUNT. The HEART IN ANCIENT SYMBOLS BEING THE DICK AND SCROTAL 284


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SPACE. fill the external with ONE’S ENERGY, PROJECTED WILL – that’’s the way to never fall, or be disrupted. train yourself to do it always. ANY EMOTION FAILING TO DO THE ABOVE WITH ANY FORM IS TO BE DISRUPTED IN THAT PERCEPTION. THE MAJOR STREAMS, WATER, PERHAPS, OUGHT NOT BE DISPLAYED ON THE SURFACE - THE HUMAN BODY DOESNT EITHER. IN THE SEXUAL ACT: Initially, DO, PAUSE, EXPAND OUT THE CREATING IMPULSING, AND ESSENCE WITH A STRONG WILL INTO THE LOWER SPACES, PROCEED. THE PLAY MAY BE ENGAGED IN WHILE THIS IS DONE. STUDY, WORLDLY LIFE ALL ADDS MATTER TO THE SACRUM THAT CAN BLOCK THE CURRENT. A LAYER OF ADDITIONAL MATTER TO TRANSFORM MAY GET ADDED ON. IMPULSE THROUGH INTO IT. BEEF, WINE, BUTTER, WHOLE WHEAT BREAD, HONEY, 285


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MILK, RAW VEGETABLES, ROOTS SUCH AS BEET AND CARROT, ARE ALL THOUGHT REVITALIZING SO IS COCOA, CHOCOLATE, DARK CHOCOLATE, CREAM, cheese, ETC. STRONG MEDICINAL SUBSTANCCES, SPICES, ETC., TEND TO DISRUPT THE SYSTEM – TRY TO AVOID, OR MINIMIZE THEIR INTAKE. SIMPLE TRADITIONAL WINES, ETC., MAY BE TAKEN IN FOR THE INFORMATION DISTILLED. FOOD IS INFORMATION. A SAMPLING IS ENOUGH TO UNDERSTAND THEM IN THE NEURANATOMICAL SYSTEM. LARGE AMOUNTS GENERALLY DIRUPT THE INTERNAL SIGNATURE. THE WILL OF THE CREATOR NATURALLY TAKES IN INFORMATION AS NEEDED FROM EXTERNAL. THE CUTTING OF FOOD IN PREPERATION, INTO TOO FINE PORTIONS AR THOUGHT TO REDUCE ITS QUALITY.

WINES AMPLIFY THE SIGNATURES OF FOOD. Indiscriminate spices destroy the signature of the food 286


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substance. An external focus leads off track. BUT HERE IS INSIGHT ON MEDICINE, FOOD, ETC. among the ancients the perceived signature of a substance, its form, all guided to its properties. INDEED PERCEPTION IS THE SYSTEMEVOLVING. In homeopathic medicine, the substance creates the disease signature in the healthy body. Diluted several times, the dilution being one of one part in a 10 followed by 30 or 200 or even 1000 zeroes., the substance is used to treat similar symptoms as it produces The dilution is prepared thus. One drop of the substance is added to say 100 drops of water and subjected to succession by banging the base of the bottle against a hard surface. This is through to infuse the signature into the water molecules. Then one drop of this dilution is taken put in 100 drops of water. The process is repeated 30, 200, or 1000 time in typical preparations. In CLASSICAL HOMEOPATHY, USUALLY JUST ONE MEDICINE IS ADIMINISTED, SINGLE DOSE, AND THE SYSTEM IS OBSERVED OVER A PERIOD OF MONTHS. 287


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Multiple dosages are through to cloud the system signature. The signature of a substance invite the WILL, THE CREATING WILL, TO DESCEND INTO IT, IN ITS PATTERNS. This might explain why me principle works.

AMONG CHINESE, ANALOGY OF FORM WERE USED AS A GUIDE IN CHOSING MEDICINAL SUBSTANCES, AND THE SAME WERE DONE IN WESTERN TRADITIONS PREDATING HOMEOPATHY. THIS PRINCIPLE were part of the Doctrine of Signatures. POISONOUS SUBSTANCES INVERT THEIR ACTION IN DILUTION – THE SYSTEM RESPONSE SEEMS TO ACT AGAINST IT. TONIC SUBSTANCES SEEM TO MAINTAIN THEIR ACTION – BUT A HIGH KANN BE FOLLOWED BY A LOW. FORM AND PERCEPTION ARE OFTEN AN INITIAL GUIDE TO THE NATURE OF A THING. Red Wine is thought to generate blood, for instance. All symbols, BTW, KANN BE UNDERSTOOD AS SEXUAL MOVEMENT, THE EXPANDING SEED, THE JOY FOUNT, 288


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ETC. ALL PATTERNS I N THE REAL BEING THE MOVEMENT OF THE PRIMORDIAL SUCH. THE STARS ARE ANALOGOUS TO THE NEURAL, SAY. THE SUN TO THE BRAIN, THE MONKEY TO THE HORMONAL. THE MONKEY KING CONSUMING THE SUN-FRUIT IS HORMONAL AND NEUROCHEMICAL BONDING OF THE HIGHER TO THE LOWER WORLDS. THE MONKEY KING WIELDS AND EXTENDABLE STAFF, OR A PHALLIC MACE. SO DOES THOR, AN EXPANDABLE HAMMER. FUNDAMENTAL SYMBOLS ARE THE DOT, SYMBOLIZING THE POTENTIAL SEED, THE CIRCLE, THE WOMB WHERE IT EXPANDS, LINES WHICH ARE PATTERNS OF GROWTH OF THE SEED, OR STREAMS GUIDING THEM. A SLANTED LINE OF DISSOLLUTION, SAY. CURVED LINES AS RECEPTACLES SUGGESTING WHERE TRANSFORMING MATTER STAYS, WHIRLS OF WATER, ANGLES OF STRUCTURE – THE SENSE BEING IN THEIR NUMERICAL, THE RIGHT ANGLE OF 289


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PHALLIC TRANSMUTANDO, ANGLES ALSO SUGGEST MERGING, BONDED EVOLUTION FROM A POINT, UPWARD RISING CURVES OF PHALLIC TRNSFORMATION, THE OTHER WAY ROUND OF FEMININE COLLECTING NATURE,, PROJECTED CURVES OF PHALLICCITY, PROJECTION INTO THE WORLD, THE RIGHT OF THE MANIFEST, PRAKRITI, THE LEFT OF THE SOURCE, PURUSHA, ALL THESE MAY BE UNDERSTOOD IN BONDED PERCEPTION WITH THE CREATOR.

ANALOGY OF FORM IS GUIDE IN SYMBOLISM. A CIRCLE WITH A THICK WALL IS ANALOGOUS IN FORM TO THE OVARY, SAY. THE VESICA PISCIS IS ANALOGUS TO THE VAGINA, THE FLEUR-DE-LIS TO THE SEXUAL ORGANS IN UNION. IN A SYMBOL ABOVE IS HEAVEN, AND BELOW IS EARTH, OFTEN. THE NATURAL ANTHROPIC PERCEPTION SAYS THUS. THE FINER SUBLIMING 290


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RISES. THE DISTILLING OF THE LOWER MATTER IN A HIGHER UNION IS IN A SENSE THE PURPOSE OF THE REAL. THE UNION REFLECTS IN PROCCESSING OF INFORMATION BY THE NERVES, IN DECUSSATING NERVES, SAY AT THE BRAINSTEM. THIS IS ANALOGOUS TO A SEXUAL UNION, IN ANCIENT THROUGHT. THE INTERACTING BRAIN LOBES ARE SEXUAL. THE ANTHROPIC FRAME BEING THE FOUNTAIN ASPECT, ALL SYMBOLS MAY BE THOUGHT OF AS ABSTRACTIONS THEREOF, ANDD OF ITS INTERNAL GENERATIVE AND REGENERATIVE PROCESSES,.THE ANTHROPIC FORM IS THE CREATED, THE FORM OF WILL OF THE CREATOR, IN A SENSE. THE WORLD FRACTALLY REPEATS ITSELF IN THE COSMOS. ALL PERCEPTION IS BUT PERCEPTION OF INNER ANATOMY, NEURANATOMY, NUMERICAL ORDERING.

THE NUMBER 1 IS THE WHOLE, THE SOURCE. THE 291


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TWO ITS SEPERRATION INTO REFLECTED ASPECTS LIKE THE ACTIVE AND THE PASSIVE, TWW WAVEFORMS ON WATER, THEIR INTERACTION ARE LIKE THE TWO LOBES OF THE BRAIN, PROJECTS THE CREATING AXIS, THE SPINAL. THE THREE THE TRANSFORMATIVE BONDING OF THESE ASPECTS – THAT WHICH SEPERATES=-PROCESSES AND STUDIES REALITY. FOUR THE FOUTNAINING RETURN OF INFORMATION THAT HAS BEEN ORDERED. A BED, A PLACE OF REPOSE A RECTANGULAR FOUR. FIVE, THE IDEA OF DISSOLUTION IN UNION, THE TWO MERGING, ‘V’ IN ROMAN SYMBOLISM . SIX OF CIRCULATION UPWARD, SEVEN OF BREAKTHROUGH A WHOLE ANTHROPIC UNIT FORMED, EIGHT OF CIRCULATION BETWEEN HIGH AND THE LOW ESTABLISHED, NINE THE FORMED EMBRYONIC, THE HIGHEST NUMERICAL, ETC. PERHAPS.

THE NUMBER ONE SEPARATES OUT HEAVEN AND 292


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EARTH AND GENERATES ALL FORMS, SAYS SHUO WEN, AN ANCIENT DICTIONARY. ALLL IMPULSING ALIGNED TO THE PRIMORDIAL ARE GENERATED IN ITS PERCEPTION. AN INTERNAL CREATION, BONDED TO THE PRIMORDIAL ONE TAKES PLACE IN ITS PECEPTION. OTHER NUMBERS ARE BUT PATTERS OF CONSEQUENT IMPULSING, RESULVING BACK TO THE ONE, AND FRACTAL WORLDS.

HEAVEN AND EARTH ARE EXPLAINED THUS IN THE DICTIONARY,

THE REST OF THE NINE NUMBERS, 2-9, ARE EXPLAINED SUCH,

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YIN AND YANG ARE EXPLAINED THUS,

294


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THE SYMBOL FOR YI,

WHATS NOW THOUGHT THE SYMBOL FOR SUN,

52. The skin cells reduce perception to ONE’S GENETIC FORM. WHEN EXTERNAL PERCEPTION DISRUPTS THIS, IT MANIFESTS ON THE SURFACE INITIALLY. THE DISRUPTED PERCEPTION, THAT IS. PERHAPS. AS WITH ANY DISRUPTION PROJECT THE JING, ORDER IN IT, THE ENTIRE STREAM, THE ENTIRE PATHWAY. THE ENITIRE SYSTEM. . EVERY FORM CAN BE UNDERSTOOD IN SEXUAL PERCEPTION AS THE SEXUAL PERCEPTION OF THE PRIMORDIAL DUAL. THE TREE IS GROWTH OF THE TRANSMUTANDO, THE HORSE IS CHARGING, 295


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RHINOCEROUS IS PHALLIC POUNDING, ETC. THE BIRD IN FLIGHT IS SUBLIMATION, ETC. THE ELEMENTS BEING PATTERNS OF THE MOVEMENT, FIRE LIKE, BONDING AND WATER LIKE, ETC. THE PATTERNS SEDIMENTED OVER TIME IS EARTH, AND IT TRANSFORMING IS DONE BY POURING THE WATER, AND IMPULSING IN THE RENEWING PATTERNS. AIR IS THE STREAMS OF FLOW UPWARD. THE SUN’S PROJECTIONING IMPELS GROWTH OF THE SEED EMBEDDED IN EARTH, FECUND BY WATER. THE ALCHEMISTS THOUGHT RAYS OF LIGHT ARE PILLARS FROM THE SUN ENCCOURAGING RETURN. RAIN WERE FECUNDING FLOW IN THE SYSTEM, SEED WATER FLOW, ETC. THE OCEAN WATERS TURN SALTY PENETRATED BY THE BEAMS OF THE SUN, AS SALT IS MATTER RETURNING, THE TENDENCY OF MATTER TO CONTINEU THE PATTERN IMPLIES SALT AIDS DIGESTION.

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53. LET THE ELECTRICITY CCOURSE DOWN TO THE SCROTAL VASSE AND DICK AND BELOW, AND INTO EVERY CELL.. THE ELECTRIC FRON THE BRAIN. AND LET THE ENERGY RISE HIGH, AND COVER IT ALL. 54. The perception activates a portion of the PRIMORDIAL DNA. Impulse it on the axis, project the generated mercury to order that space. PERHAPS. The DNA IS KNOWLEDGE, PRIMORDIAL ORDERING RELATED TO THAT INPUT. ANY DISORDER, INTERNAL OR EXTERNAL MAY THUS BE COMPREHENDED AND FIXED.

The above notes were expanded from scribbles done by the author, during his work translating THE BOOK ONE of THE SEVEN BOOKS of Kamasutra. THEIR TONE HAS BEEN PRESERVED . They are to be thought of as just ponderings on the subject matter .

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Kamasutrum Pseudotranslatorium BOOK 1  

An exploration of hidden senses in Book 1 of Kamasutra

Kamasutrum Pseudotranslatorium BOOK 1  

An exploration of hidden senses in Book 1 of Kamasutra

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