Chapter Four
The Theory of Reflection
Pratibimbaviidah
In the ordinary worldly course, sound is reflected outwardly
in ether and inwardly in the ear. Touch is reflected outwardly
in air and inwardly in the skin. Form is reflected outwardly in
fire and in a mirror and inwardly in the eye. Taste is reflected
outwardly in water and inwardly in the tongue. Smell is reflected
outwardly in the earth and inwardly in the nose. These
reflections, however, are just like the reflections in a mirror.
They only take place individually. All five re_flections are not
available at once; only one thing is reflected in each. In a mirror,
form is reflected. Touch can not be reflected in a mirror nor
can taste, smell, or sound. A mirror will only reflect form. It is
only in Supreme God Consciousness that you find all five
reflected at once. In fact, although these ·reflections are experienced
individually in all of the sense organs-sight in the eye,
sound in the ear, etc.-these reflections could not even be
observed if consciousness were not there. Awareness is needed
and this is found in consciousness, not in the organs.
The universe, therefore, is reflected in the mirror of consciousness,
not in the organs nor in the five gross elements.
These are merely tattvas and cannot reflect anything. The real
29
KASHMIR SHAMSM "The Secret Supreme"
reflector is consciousness. In consciousness, however, you see
only the reflected thing and not the object that is reflected. That
which is reflected (bimba) is, in fact, sviitantrya. This whole
universe is the reflection of sviitantrya 1 in God Consciousness.
There is no additional class of similar objects existing
outside of this world that He reflects in His nature. The outside
element, that which is reflected, is only sviitantrya. The infinite
variety which is created is only the expansion of sviitantrya.2
You can understand this by taking the example of cause and
effect. When a potter makes a pot, he takes clay and gives form
to that clay with his potter's instruments, such as a stick, a
string, and the potter's wheel. Within the potter's creative
activity, two kinds of causes can be distinguished. There is the
material cause, which in Sanslqit is called upiidiinakiira1Ja.
This is that cause that travels with the effect. It cannot and does
not become separated from the effect. Second, there is the formal
cause, which in Sanskfit is called nimittakiira,:za. The formal
cause does not travel with the effect. The material cause is
the potter's clay and the formal cause is the potter himself and
his stick, string, and wheel. In the ordinary worldly course, the
object which is reflected (bimba) seems to be the cause of the
reflection (pratibimba) because the reflection cannot exist
without that which is reflected. We have seen, however, that all
reflection is really a reflection in God Consciousness. If the
object reflected is really the cause of the reflection, then what
kind of cause is it? Is it the material cause, which travels with
1 SvGtantrya Sakti is one with God Consciousness. There are not two elements,
such as the mirror and the object which is reflected in the mirror.
The reflecteda nd the reflection are one. The mirror,w hich is the absolutely
independent will of God (sviitantrya), is God Con~sciousness.
2 yadvapik aranamk iiicit bimbatven.a..
• Tantriiloka: IIl;SO
30
The Theory of Reflection (Pratibimbaviida/:1)
the effect, or is it the formal cause, which does not travel with
the effect? It cannot be the material cause because that would
mean that there is something outside of God Consciousness
which travels to become part of the effect which is the reflection.
It is our theory in Saivism that nothing can exist outside
of God Consciousness. There cannot, therefore, be any agency
which is separate from God Consciousness and which travels
with the cause because if it is separate from God
Consciousness and therefore from the effect, it would not exist.
If the reflection of some object is existing in the mirror of
God Consciousness, then what is that reflection a reflection of?
We have seen that if the object which is reflected were to
remain outside of God Consciousness, then it would not exist.
There can be nothing, therefore, which is outside to be reflected
in the mirror of God Consciousness. There is only the mirror.
There is no external cause which has gone into the reflection
which is the effect. There is only the mirror of God
Consciousness.
But what then is the cause of this reflection? Sviitantrya is
the mirror. Sviitantrya,. the absolutely independent will of God,
is the cause of this reflection. Unlike ordinary reflection which
we experience in the world wherein an object can be distinguished
as the cause of that reflection, in God Consciousness
only the reflection exists and not anything that is separate and
reflected (bimba). In this causality, sviitantrya is the formal
cause (nimittakiira!Ja), not the material cause (upiidiinakiira!
Ja), of the reflection. It does not travel from the cause
into the effect because, as I have explained, there is no cause
which could be separate from God Consciousness. It is His free
will that He wills and what He wills appears in the: mirror of
His Consciousness. It is simply His will (sviitantrya). In reality,
only the reflection exists and not anything that is reflected.
This universe, therefore, is found in the reflector of God
Consciousness, not through the agency of anything of which it
31
KASHMIR SHAIVISM "The Secret Supreme"
is a reflection (bimba) but through His sviitantrya, where the
universe is contained in seed form. Sviitantrya is the seed of
everything. Everything exists in the mirror of God
Consciousness with sviitantrya as its cause.
The theory of reflection (pratibimbaviida) is meant for
advanced yo gins. This theory teaches them how to be aware in
their daily activities, while talking, while walking, while tasting,
while touching, while hearing, while smelling. While they
are performing all of these various actions, they see that all of
these actions, move in their Supreme Consciousness. Their
vision, their perception, heretofore limited, becomes unlimited.
The mode of their actions becomes absolutely unique. They see
each and every, action in their God Consciousness. They exist
in the state of sadiisiva. Each and every action of their life
becomes glorious. This is the awareness that comes from the
practice of pratibimba.
32
Chapter Five
The Explanation of the Means
Upayas
The meaning of the Sanskfit word upiiya is "means." The
word upiiya in Kashmir Saivism is used to indicate the means
to enter into Universal God Consciousness from individual
consciousness. Our Saivism proclaims that there are three
means for entering into Universal God Consciousness: siimbhavopiiya,
the supreme means; siiktopiiya, the medium means;
and ii,:iavopiiya, the inferior means.
S' iimbhavopiiya
Siimbhavopiiya, the supreme means, functions in miitrikiicakra,
pratyiihiira, and pratibimbaviida. The definition given
in the "Miilin1vijayottaratantram" for siimbhavopiiya is "the
one who preserves thoughtlessness." By preserving thoughtlessness,
that is, riot having thoughts and maintaining the continuity
of that thoughtlessness, and by the grace of the Master,
one enters into that transcendental consciousness where he
finds that this whole universe has come out from sentences and
sentences from words and words from letters and letters from
33
KASHMIR SHAIVISM "The Secret Supreme"
that real "I" which is Parama Siva. Here, one finds that this
whole universe is reflected in his own consciousness and that
it is reflected from within rather than from without.'
Siimbhavopiiya is called icchopiiya because it originates
from icchii sakti and because it is that means which exists in
the state of the meant. In siimbhavopiiya, there are no means to
travel upon. It is the meant. There is nowhere to go. You must
reside only in the meant. The rest is automatic. Here, only the
grace of your Master is necessary. It must be realized, however,
that you yourself must come to this point where you reside
in the meant and this you do by maintaining the continuity of
thoughtlessness. Up to this point, therefore, there is still something
to be done. When you reside only in the meant, it is then
the grace of your Master that carries you. You must reach that
state where only your Master shines for you. This means that
you must merge in your Master's consciousness. In this state,
you do not exist; only your Master exists. Masters select disciples
for this upiiya who are highly developed in awareness.
U:ntil then, they will not be accepted by the Master for this
upiiya. In this upiiya, the Master functions more than does the
disciple.
In our Kashmir Saivism, we say,
, svamuktimatre kasyiipi
yiivadvisvavimocane I
pratibhodeti khadyotaratnatiirendu
siiryavat II
1 akirilciccintakasyaivgau nJ.I).p3.r atibodhatal)I.
jayate ya]:,s amiivesaJ:s, iimbhavo 'siivudiritaJ:I, I
Tantraloka: XIII:159
Miilin1vijayottaratantram; II; V23
/ 34
The Explanation of the Means (Upaya)
"A light bug shines only for himself, jewels
shine not only for themselves but for a few
others also, the stars shine for even more, the
moon shines for still more, and the sun shines
for the whole universe. In the same way, he
who is established in the sambhavopaya state
shines like the midday sun for the whole universe."
As the light bug has sufficient light to show his own body,
there are those yogins that are sufficient only for themselves;
they cannot help anybody else. There are also yo gins, who like
jewels, shine so that their light illumines those that are near.
Those yogins that shine like stars illuminate even more with
their light. Those that shine like the moon illumine still more.
But the Saivaite yogi, established in sambhavopaya, is just like
the sun-he lights the whole universe. •
~iiktopiiya
Siiktopiiya is that upiiya which functions by the means of
energies.· Saktopiiya is called jniinopaya, because it is the
means which originates fromjnana sakti, the energy of knowledge.
Here, the aspirant is more important than .the Master
because he must make himself capable of receiving the
Master's grace, He must work to develop great velocity of
awareness until he reaches the "feet of the Master." By this I
do not mean the Master's physical feet. "Being at the feet of
the Master" means reaching that state where the aspirant is
capable of receiving the grace of the Master. Those who reach
that state are said to be at the feet of the Master.
In siiktopiiya, the yogi does not have to recite mantras or use
his breath to be aware or concentrate on any particular spot. He
has only to see and concentrate on that Supreme Being that is
35
KASHMIR SHAIVISM "The Secret Supreme"
found in two actions without actions. In the "Vijiiana Bhairava
Tantra," this is called centering.2
In siiktopiiya, centering can be practiced between any and all
actions and or thoughts. In centering, the yogz must develop
great velocity of awareness. Great velocity means firmness of
awareness. Awareness must not become loose. If the yogi's
awareness becomes loose, he will be forced out of siiktopiiya
into the lowest upiiya, iil}avopiiya. He will lose the right to
tread on the path of siiktopiiya. In his practice, there must be
continuity in the cycle of his awareness. Only by maintaining
an unbroken chain of awareness will he be able to discover the
reality between any two thoughts or actions. The practice of
centering is meant to function between any two actions or any
two thoughts. He can center between any two thoughts or any
two movements, between one thought and another thought,
between waking and dreaming, between one step and the next
step, between one breath and the next breath. All actions and
all thoughts are the proper framework for the practice of siiktopiiya.
The siiktopiiya yogz must simply insert continuous
awareness in the center of any two actions or thoughts. If his
awareness is faulty and is not unbroken, then he falls and enters
into the lowest upaya, iil}avopaya.
Al}avopiiya
Al}avopaya is concerned with al}u, the individual soul.
Al}avopiiya is that upiiya, which functions by the process of
concentrating on ucciira (breathing), karal}a ( organs of sensa-
2 "madhyarisl amiiSrayet."
Vijfia.DBa hairavaT antra;V erse 61
36
The Explanation of the Means (Upiiya)
tion), dhyiina ( contemplation), and sthiina prakalpanii ( concentrating
on a particular place).
The word ucciira means "breathing," actually concentration
on the breath. Concentration on the breath is the essential element
of the practice of cakrodaya. In practicing cakrodaya you
have to continue breathing deeply and find the point, the center
between the two breaths, the incoming breath and the outgoing
breath. This is the ending point, the beginning point, and
also the center of the span of the breath. In cakrodaya, however,
the beginning and ending points of the span of the breath are
predominant. This is ucciira, concentration on the breath. It can
be either with sound or without sound.
Kara,:za means "organ" and, in particular, it means "sense
organ." Concentrating on kara,:zam eans having and maintaining
one-pointedness through vision or any other sense organ. In
kara,:zat,h e sense of sight is predominant. For example, in concentrating
on kara,:za through the sense of sight, you have to
look at a particular thing. You must go on looking without
blinking your eyes. You should go on seeing that one point
with unbroken awareness. And when that point vanishes, and it
should and will vanish when you enter into that vastness of the
center, that is the end. If you were to practice concentrating on
kara,:zat hrough the sense of hearing, then you would listen to
some sound and continue listening and repeat that sound again
and again. You can also practice by concentrating on some
taste or some particular sensation of touch. In kara,:za,y ou cari
employ all the five organs of sensation, however; with the
senses other than sight, you must remain aware of where the
sensation first arises. This is the way of kara,:ia in ii,:zavopiiya
and, in the long run, this creates one-pointedness.
The word dhyiina means "contemplation." It is anoth~r
mode in ii,:zavopayaD. hyiina is contemplation on some point.
There are different forms of dhyiina. For example, you -Je
practicing dhyiina when you contemplate on the lotus in your
37
KASHMIR SHAMSM "The Secret Supreme"
heart, or on the meaning of some mantra 3 such as the mantra
"so' ham" or the mantra "iliva." This is a_ higher form of
ii,:zavopiiya because it is contemplation without any shape,
without any form. If you were to contemplate on Lord Siva as
having a particular form, a particular shape, that is a lower
form of ii,:zavopiiya. It is contemplation with form.
Therefore, any time in meditation that you have mantra,
then you have dhyiina. And along with dhyiina, you can also
adjust kara,za and ucciira, but not in the beginning.
Sthiina prakalpanii means concentration on some paiticular
place. The higher form of sthiina prakalpanii, which is a practice
in higher ii,:zavopiiya, is that practice where you discover
where each aspect of reality is found in the span of the breath.
You see where the devas are residing, where the lokapiilas are
residing, where is the location of dawn, where is the location
of morning, where is the location of midday, where is the location
of sunset (sandhyii), where is the location of midnight,
where is that location which is the time when the sun moves
toward the northern side, and where is that location which is
the time when the sun moves to the south. These are all sthiina
prakalpanii, and these are the particular points you have to
concentrate on, and discover in the course of your breath.4 The
practice of sthiina prakalpanii is simply to see the vastness of
the universe in one breath.
The second and lower form of sthiina prakalpanii, which is
a practice in lower iinavopiiya, is where you concentrate on dif-
3 All mantras have meaning.
4 In the practice of sthiina praka/panii, there are points in the breath which
you must concentrateo n. In the practiceo f ucciira, therei s no need to concentrate
on each and every point in the passage of the breath. In this practice,
you concentrate on only one point.
38
The Explanation of the Means (Upiiya)
ferent points in the body. These particular places for concentration
are divided into three. One place for concentration is
between the two eyebrows (bhrumadhya). The second place
for concentration is the pit of the throat (ka,:itha kupa). And
the third place of concentration is the heart (hridaya).
All of these processes, ucciira, kara,:ia, dhyiina, and sthiina
prakalpanii, are called the upiiyas of jfva, the means of the
individual, and they exist in ii,:iavopiiya.
A,:iavopiiya is the means found in the world of duality and
is known as bhedopiiya. The means which exists in the world
of mono-duality, in the world where duality and nonduality
exist together, is !siiktopiiya and is called bhediibhedopiiya.
That means which exists in the world of pure monism (abheda)
is !siimbhavopiiyaa nd is called abhedopiiya.
Siimbhavopiiya is also called icchopiiya, as it is the means
which exists in icchii !sakti. The means which exists in jniina
!sakti is !siiktopiiya t\lld is called jniinopiiya. A,:iavopiiya is
called kriyopiiya because it is the metins which is found in
kriyii !sakti.
The difference between ii,:iavopiiya,! siiktopiiya,a nd !siimbhavopiiya
is this. In ii,:iavopiiya, the strength of your awareness
is such that you have to take the support of everything as
an aid to maintaining and strengthening your awareness.
Though you concentrate on the center, you must take the support
of two things for concentrating on that center. In !siiktopiiya,
your awareness is strengthened to the extent that only
one point is needed as a support for your concentration and
that point is the center. In !siiktopiiya,y ou begin with the center
and then become established there. In !siimbhavopiiya,t he
strength of your awareness is such that no support is needed.
You are already residing in the meant. There is nowhere to go,
just reside at your own point. The rest is automatic.
It is important to realize that though there are different
upiiyas, they all lead you to the state of one transcendental
39
KASHMIR SHANISM "The Secret Supreme"
consciousness. The difference in these upiiyas is . that
iil}avopiiya will carry you in a long way, siiktopiiya in a shorter
way, and siimbhavopiiya in the shortest way. Although the
ways are different, the point to be achieved is one.
Anupiiya
Beyond these three upiiyas, siimbhavopiiya, siiktopiiya, and
iil}avopiiya, there is another upiiya. Although it is not actually
an upiiya, yet it is mentioned in Kashmir Saivism. This upiiya
is called anupiiya. The word anupiiya means "no upiiya."
Thoughtlessness is called siimbhavopiiya. One-pointedness is
called siiktopiiya. Concentration on and with the support of
mantra and breathing and all other elements is called
iil}avopiiya. Above all of these is anupiiya. In anupiiya, the
aspirant has only to observe that nothing is to be done. Be as
you are. If you are talking, go on talking. If you are sitting, go
on sitting. Do not do anything, only reside in your being. This
is the nature of anupiiya. Anupiiya is attributed to iinanda sakti
of Siva and is also called iinandopiiya.
40

Chapter Three
The Theory of the Alphabet
M iitrikiicakra
Miitrikiicakra is the theory of the alphabet. This theory
teaches us that the whole universe is created by God, Lord
Siva, as one with, and not separated from, His own nature. He
has created this universe in His own Self as the reflection of
His sweet will. The creation of this universe is the outcome of
this reflection. In Saivism the sweet will of God is known as
icchii sakti, the energy of will. It is through His will that the
reflection of the universe takes place in His own nature. This
reflection, however, is not like that reflection which takes place
in an ordinary mirror, where the mirror is the reflector and that
which is reflected in the mirror is external to it. The reflection
of the universe, which takes place in Lord Siva's own nature,
is like the reflection which takes place in a cup-shaped mirror.
Here, Lord Siva takes the form of a cup and puts another cup
in front of His nature. And in that second cup, which is inseparable
from Him, the reflection of the universe takes place.
This universe, as I explained earlier, is contained in the thirty-
six elements, the thirty-six tattvas. And from the point of
view of descending, first comes siva tattva, then sakti tattva,
then sadiisiva tattva, then isvara tattva, then suddhavidyii tattva,
then miiyii tattva, and so forth. Yet the reflection of the uni-
15
KASHMIR SHAIVISM "The Secret Supreme"
verse does not take place in this descending manner, from siva
tattva to maya tattva, etc. Rather, it takes place in a reverse
fashion. The reflection of the universe takes place from prithvi
tattva, the element earth, to sakti tattva, from the lowest to the
highest, not from the highest to the lowest. Just as in the ordinary
course of experience when you see your face in a concave
mirror, your head will appear as down and your body will
appear as up. In the same way, this whole universe begins from
sakti tattva, but it is experienced as beginning from prithvi tattva.
The lowest element earth is reflected first and then the element
water, then fire (agni), then air (vayu), and so on, up to
sakti tattva.
And so, even though the real way in which the universe is
expanded is from siva tattva to sakti tattva and so on, this
reflection makes you feel as if the lowest element, earth, is
reflected first. And this is due to the fact that it is reflected. It
is the reflection that makes you feel this way because this
reflection is an inseparable reflection. There is no mirror outside
separate from, that which is reflected in the mirror. In the
ordinary course of life, you experience that which is reflected
in the mirror is at one place and the mirror, which is the reflector,
is at another. In the reflection of the universe, however, the
reflected and the reflector are inseparable. It is Siva and His
Sakti, the energy holder and His energy, His energy of will.
Lord Siva, the reflector of this whole universe, is full of five
energies, and these five energies are cit sakti, the energy of
consciousness; ananda sakti, the energy of bliss; iccha sakti,
the energy of will; jnana sakti, the energy of knowledge; and
kriya sakti, the energy of action.
These five energies are represented in the sixteen vowels of
the Sanskrit alphabet: a, a, i, f, u, ii, ri, ri, Ii, Ii, e, ai, o, au, riz,
IJ, which comprise siva tattva.
16
The Theory of the Alphabet ( M atrikiicakra)
The first letter of the Sanskrit alphabet, a, represents cit
sakti, the energy of consciousness of Lord Siva. The second
letter of the Sanslqit alphabet, the letter ii, represents iinanda
sakti, the energy of bliss of Lord Siva. Cit sakti and iinanda
sakti, the energies of consciousness and bliss, are totally inseparable.
Where there is consciousness (cit), there is bliss (iinanda),
and where there is bliss, there is consciousness. Here, at
this stage, the universe has not yet taken shape. It is only residing
in iinanda sakti, the energy of bliss.
After cit sakti and iinanda sakti comes icchii sakti, the energy
of will. Icchii sakti is represented by the third and fourth letters
of the alphabet, the letters i and i. You must understand that
icchii sakti is not. desire-it is will. It is wrong understanding
to think of icchii sakti as the energy of desire. It is the power of
will. And this icchii sakti takes two forms: unagitated and agitated.
In its unagitated form, icchii sakti resides peacefully in.
its own nature and is represented by the letter i. Next, the agitated
formation of icchii sakti takes place. This state is represented
by the next letter ·of the alphabet, the letter i. This is the
state of agitated will. In this state, Lord Siva's will is agitated
but not in such a way that it is separated from His own nature.
It remains as residing in His own consciousness and bliss, cit
and iinanda.
At this point the apprehension takes place in Lord Siva's
consciousness that if I go forward, if I move onwards, I may
lose my own nature. And this apprehension takes place in
jniina sakti, the energy of knowledge of.Lord Siva, and is represented
in the next two letters of the alphabet, the letters u and
ii. The first of these two letters, the letter u, is called unmeea.
The word unmeea indicates that the universal existence is
about to begin, it is just forthcoming. It has not yet begun, it is
not yet created, it is about to be created. And when He begins
to create the universe, He becomes apprehensive and this
17
KASHMIR SHAIVISM "The Secret Supreme"
apprehension is known as unatii, which means "lessening."
This state is represented by the letter ii. It is that state in which
Lord Siva has the, foreboding that His cit sakti and iinanda
sakti may be decreased if He continues to move out to create .
the universe. This feeling keeps Him at a standstill and prevents
His moving forward.
He, therefore, discards the universe. He separates the universe
from His own nature and resides in His own cit sakti and
iinanda sakti, consciousness and bliss. This state, wherein Lord
Siva has rejected the universe and is Only residing in His own
nature of consciousness and bliss, is represented by the next
four vowels of the alphabet, the letters ti, ri, Ii, and lz. The state
that these four vowels indicate is that state where the Supreme,
filled with consciousness and bliss, resides in Hi_s own nature.
He does not move out. Because of this, there is no possibility
of the universe coming into manifestation. Here the manifestation
of the universe totally stops. Hence, these four vowels, ri,
rz, li, and Ii, are called amrita bija, which means "residing in
His own bliss (iinanda)." At this stage, there is no thought of
creating ·the universe. These four vowels do not create anything.
The state of Lord Siva which these four vowels represent
is known as aniisrita :SivaA. niisrita siva refers to that Siva who
has not accepted the existence of the universe in His own
nature. In this state, Lord Siva resides in His own nature forever.
The apprehension "If I create this universe I may lose My
own nature" is known as iinatii. It came out from the agitated
state of the jniina sakti of Lord Siva. Yet the first two energies
of Lord Siva, cit sakti and iinanda sakti, the energies of consciousness
and bliss, do not recognize this apprehension. These
two energies are at ease. They understand that to create this
universe is only the glory of His nature; therefore, why be
1pprehensive? There is no question of apprehension arising in
18
The Theory of the Alphabet ( Miitrikiicakra)
Lord Siva. Why, therefore, should He be frightened about coming
out? Coming out or going in is the same to Him. As these
two energies, cit sakti and iinanda sakti, have this understanding,
therefore, they begin anew to create this universe.
So cit sakti and iinanda sakti, the energies of consciousness
and bliss, which are represented in the vowels a and ii, create
contact with icchii sakti, the energy of will, which is represented
in the vowels i and i and create the letter e. And then simultaneously
cit sakti and iinanda sakti contact e and give rise to
the letter ai. And when cit sakti and iinanda sakti come in contact
with jniina sakti, the energy of knowledge, represented in
the letters u and ii, they create the letter o. And when simultaneously
cit sakti and iinpnda sakti contact the letter o, they give
rise to the letter au. So when a or ii come in contact with i or i,
the letter e is created. And when a or ii come in contact with
the letter e, the letter ai is created. In the same way, when a or
ii comes in contact with u or ii, the letter o is created. And when
a and ii come in cont<1cwt ith o, the letter au is created.
These four letters, e, ai, o, au, which were created by the
contact of cit sakti and iinanda sakti with icchii sakti and jniina
sakti, represent the four states of kriyii sakti, the energy of
action of Lord Siva. The first state of the energy of action,
which is represented by the letter e, is called asphufa (not
vivid) kriyii sakti. In this state, the energy of action is not clear.
In the next state of kriyii sakti, which is represented by the letter
ai, the energy of action becomes sphufa (vivid). In the third
state of kriyii sakti, represent_ed by the letter o, the energy of
action becomes sphufatara (more vivid). And in the fourth and
final movement and state of kriyii sakti, represented by the letter
au, the energy of action becomes sphufatama (most vivid).
So the energy of action has four states as represent~d in the letters
e, ai, o, and au. And in these four states, the energy of
action begins as not vivid (asphufa kriyii sakti), then becomes
19
KASHMIR SHAIVISM "The Secret Supreme"
vivid (sphuta kriya sakti), then more vivid (sphutatara kriya
sakti), and finally most vivid (sphutatama kriya sakti). In this
energy of action, the reflection of the whole universe talces
place. Although this universe is reflected in His total energy of
action, yet this reflection has taken place primarily in His
fourth energy of action, which is represented by the letter au.
Th,e fact is, however, that even though this whole universehas
been created, the nature of His Self, which is full of consciousness
and bliss, has not been lessened at all. Nothing has
happened. He is only residing in His own point. This state of
Lord Siva is represented by the letter m (anusvara). The letter
m, therefore, shows that the existence of Lord Siva has not
moved from His own nature, even though this whole universe
is created in His Self.
The reflection of the universe, which has· been explained
earlier as being in the form of a cup-shaped mirror, is represented
by the sixteenth letter of the Sanskfit alphabet, visarga,
the letter /J. In devanagari script the letter !J ta!ces the form of
the two points of the colon":." And these two points of the visarga
(:) represent the two cups in which the reflection of the
universe talces place. These two points are known as siva bindu
and sakti bindu.
I have explained that the Sanskfit vowels, from the letter a,
which is anuttara, to the letter /J, which is visarga, are siva tattva.
The remainder of the alphabet is sakti tattva, the universe
of thitty-five tattvas. And this universe is the reflection of His
svatantlya. It is not created, it is a reflection. You may ask, if
they are not created, then how is each succeeding letter produced?
Are they produced just by reflecting against the letter
or are they produced from within their own self? The answer
is, they are not produced in either of these ways. Actually, it is
the reflection of svatantlya that gives rise to each succeeding
letter. In cit sakti, ananda sakti, iccha sakti, jnana sakti, and
kriya sakti, the svatantrya of Lord Siva is reflected. All of the
20
The Theory of the Alphabet ( M atrikiicakra)
elements (tattvas) are a reflection of the five energies of Lord
Siva. No element escapes these five energies. Everything
comes out from these five energies. It is His sviitantrya that,
from these five energies, first come the five mahiibhutas, and
then come the five tanmiitras, and then come the five karmendriyas,
and so on. And in each of these energies all of the five
energies exist. For example, in cit sakti, all the five energies, cit
sakti, ananda sakti, icchii sakti, jiiiina sakti, and kriyii sakti, are
present. At the same time, you should understand that although
in one energy all the energies are present, only one energy is
predominant. So five energies into five energies is twenty-five
and these are the first twenty-five tattvas, from prithvi to
puru$a.
The five mahiibhutas, which are the five consonants from
na to ka, are produced by cit sakti (anuttara) and iinanda sakti,
which are one and are the letters a and ii, when mixed with His
five energies. That reflection where His cit sakti is predominant
is iikiisa ( ether) and this is the letter na.l The reflection of
His iinanda sakti is viiyu (air) and this is the letter gha. The
reflection of His icchii sakti is agni (fire) and this is the letter
ga. The reflection of His jiiiina sakti is ja/a (water) and this is
the letter kha. And the reflection of His kriyii sakti is prithvi
( earth) and this is the letter ka.
The five tanmiitras, which are the consonants from iia to ca,
are produced by icchii sakti, the letters i and i, when it is mixed
with the five energies. That reflection where His cit sakti is
predominant is sabda, the residence of sound, and this is the
letter"iia. The reflection of His iinanda sakti is sparsa, the residenc~
of touch, and this is the letter jha. The reflection of His
1 Sakti tattva is a reflection of Siva tattva. The reflective flow, therefore, is
in each case from the last letter to the first letter, e.g., from ha_ to ka, and
the order of the consonants is reversed.
21
KASHMIR SHAIVISM "The Secret Supreme"
icchii sakti is rfipa, the residence of form, and this is the letter
ja. The reflection of His jniina sakti is rasa, the residence of
taste, and this is the letter cha. And the reflection of His kriyii
sakti is gandha, the residence of smell, and this is the letter ca.
The five karmendriyas, which are the five consonants from
,:ia to fa, are produced by the letters ri and rz, which is
anasritasiva, in conjunction with the five energies. The five
jniinendriyas, which are the five consonants from na to ta, are
produced by the same tattva through the letters Ii and Ii.
The five karmendriyas are reflected as follows. The reflection
where His cit sakti is predominant is viik, the organ of
speech, and this is the letter ,:ia. The reflection of His iinanda
sakti is pii,:ii, the organ of action, and this is the letter t;lha. The
reflection of His icchii sakti is piida, the organ of locomotion,
and this is .the letter t;la. The reflection of His jniina sakti is
piiyu, the organ of excretion, and this is the letter {ha. And the
reflection of His kriyii sakti is upastha, the active organ of sex,
and this is the letter fa.
The five jniinendriyas are reflected in the following manner.
The reflection where His cit sakti is predominant is ghrii,:ia, the
cognitive organ of smell, and this is the letter na. The reflection
of His iinanda sakti is rasanii , the cognitive organ of taste, and
this is the letter dha. The reflection of His icchii sakti is tvak,
the cognitive organ of touch, and this is the letter· da. The
reflection of His jniina sakti is cak$u, the cognitive organ of
sight, and this is the letter tha. And the reflection of His kriyii
sakti is srotra, the cognitive organ of hearing, and this is the
letter ta.
Jniina sakti, which is the letters u and fi, when mixed with
the five energies, produces the five elements manas, buddhi,
ahamkiira, prakriti, and puru$a, which are the five consonants
from pa to ma. That reflection where His cit sakti is predominant
is puru$a, the limited self, and this is the letter ma. The
reflection of His iinanda sakti is prakriti, nature, and this is the
22
The Theory of the Alphabet ( Matrikacakra)
letter bha. The reflection of His iccha sakti is ahamkara, ego,
and this is the letter ba. The reflection of His jiiana sakti is
buddhi, intellect, and this is the letter pha. And the reflection of
His kriya sakti is manas, mind, and this is the letter pa.
The six internal states of puru$a, which are maya, kala,
vidya, raga, kala,and niyati, are reduced to four by combining
niyati with raga and kala with kala. The four limitations which
result from these combinations. correspond to the next four
semi-vowels. The limitations kala and kala, which are the limitations
of time and creativity, correspond to the letter ya.
Vidya, limited knowledge, corresponds to the letter ra; raga
and niyati, the limitations of attachment and space, to la; and
maya, the element of self ignorance and objectivity, corresponds
to va.
• It cannot be said that these limitations are created by the
energies of Lord Siva as they represent the internal state of
puru$a, These limitations, therefore, are called antaf}stha
because they reside inside puru$a, one's own limited self. They
are the internal state of limited puru$a,
The four tattvas-suddhavidya, isvara, sadasiva, and
sakti-are also not created by the energies of Lord Siva.
Instead, they are the swelling of the heat of His own nature.
Suddhavidya, which is the state of aham-aham /idam-idam (II/
this-this), is the letter sa. lsvara, which is the state of idamaham
(this-I), is the letter $a, Sadasiva, which is the state of
aham-idam (I-this), is the letter sa. Sakti, which is the state of
a ham (I), is the letter ha. This is the reason that these four letters
in grammar are called U$ma, which means "the heat of His
own nature." They are the expansion of the state of unlimited
Being and, as such, are attached to the unlimited state of
puru$a, which is the expansion of that state of unlimited Being.
The great Sanskrit grammarian PiiI_lini also explains the
alphabet as we do in our Saivism.
23
KASHMIR SHAIVISM "The Secret Supreme"
akuhavisarjaniyiiniim ka,;fhaf:t /
The place where the following le_tters are produced is the
throat:
a, ii, ka, kha, ga, gha, na, ha, f:t
icuyasanam talu /
The place where the following letters are produced is the
soft palate:
i, z, ca, cha, ja, jha, iia, ya, Sa
rifura$ii,;am murdha /
The place where the following letters are produced is the
head:
ri, ri, fa, fha, (ja, (jha, ,;a, ra, $a
litulasiiniim dantii/:t /
The place where the following letters are produced is the
teeth:
Ii, ff, ta, tha, da, dha, na, la, sa
upiipadhmiiniyiiniimo$fhau /
The place where the following letters are produced is the
lips:
u, ii, pa, pha, ba, bha, ma, upadhmiiniya2
iiamana,;aniiniim niisikii ca /
The place where the following letters are produced is the
nose:
iia, na, 1Ja, na, ma
edaitof:t ka,;fhatiilu /
The following letters are produced by the throat and palate:
e, ai
2. upadhmiinlyai s use~ in the recitationo f mantras in the Vedas.
24
The Theory of the Alphabet ( Matrikiicakra)
odauto~ ka,:itho~{am/
The following letters are produced by the throat and lips:
o, au
vakiirasya danto~tham /
The following letter. is produced by the teeth and lips:
va
jihviimilliyasya jihviimillam /
From the root of the tongue is produced:
jihviimilliya3
niisikiinusviirasya /
From the nose is produced:
m -anusviira
The aim of miitrikiicakra is to function with the first and the
last letter in either· the way of Siva or the way of Sakti. To function
in the way of Siva, take the first letter a which is the first
step of Lord Siva in the creative. field, and combine this with
the last state of Lord Siva, the letter ha, which is the resting
place and the last letter of miitrikiicakra. This also corresponds
to Pa!).ini's concept of pratyiihiira. Take the first letter along
with the last letter and you will find that all of the letters are
existing therein. The whole universe of!etters falls within these
two letters.
According to the rules of Sanskp.t grammar, we then, after
combining the letters a and ha, have to append the letter m on
the end and this creates the mantra of Lord Siva, the mantra
aham.4 The letter m has a special significance. It indicates that
this whole pratyiihiira, which is contained in the letters from a
to ha, and which has produced the one hundred and eighteen
worlds, the thirty-six elements, and the five circles (ka/iis), has
3 The guttural class of consonants uttered from the root of the tongue.
4 Ahariz is the mantra of Universal "I."
25
KASHMIR SHAIVISM "The Secret Supreme"
in reality created ·nothing. It is just one point. This is the significance
of the letter m, which is anusviira.
The way of Sakti is the way of energy. The difference
between Sakti pratyiihiira and Siva pratyiihiira is that in Sakti
pratyiihiira, two Saktis combine and create a world of their
own. Sakti is actually the existence of created Being. Siva is
the creator. Here, Sakti wants to become independent of Siva.
To do so, She must create a world of Her own. It is like what
happens with bees. When the queen bee stops creating eggs,
then the worker bees, without mating, create eggs of their own.
This is the mating of Saktis. Siva is put aside and Sakti combines
with Sakti to create their own world, which is the expansion
of Saktis. And this creation takes the first letter of the consonants,
the letter ka, which is the first letter of the Saktis and
combines it with the last letter of the Saktis, the last consonant,
the letter sa5 and produces the mantra of Sakti, the mantra k:fa.
In the kingdom of miitrikiicakra, there exists three kinds of
visargas, three kinds of flow. These three visargas are known
as siimbhava visarga, siikta visarga, and ii,:iava visarga.
The first visarga exists at the stage of iinanda sakti, and is
represented by the letter ii. This visarga is known as siimbhava
visarga. The mode of this visarga is said to be cittapralayal}.
The word cittapralayal} indicates that state where your mind
does not function, where only thoughtlessness exists. Here the
mind does not work at all. This is the thoughtless flow. This
siimbhava visarga is also known as para visarga, the supreme
visarga. This supreme visarga is concerned with Siva.
The second visarga is known as siikta visarga. It is also
5 The letter "ha" is not part of this creation of the Saktis because ha is a
letter which is attached to Siva and, therefore, Sakti does not recognize
her naturew· ithout Siva. The letter ha is apara visarga, the gross visarga
of Lord Siva.
26
The 'f!leory of the Alphabet ( Miitrikiicakra)
known as pariiparii visarga, the highest cum lowest or medium
visarga. This visarga is represented by the last letter of the
vowels, the letter 1J which in grammar is also designated as visarga!
J. The mode of this visarga is called cittasambodhaiJ.
CittasambodhaiJ indicates that state where awareness is maintained
in one-pointedness.
The third and last visarga is called iiJJava visarga. It is also
known as aparii visarga!J, the lower or inferior visarga. It is the
visarga of the individual (nara!J ). This visarga is attributed to
the letter ha, the last letter of the Sanskμt alphabet. The mode
of this visarga is called cittavisriintiiJ. The word cittavisriintiiJ
indicates that state where the mind rests in concentration,
where the mind takes a permanent seat in concentration.
27

Chapter Two
The Sixfold Path of the Universe
$a~adhvan
In Saivism this objective universe is said to be threefold,
because it is composed of three paths (adhvans). These
adhvans are gross (sthiila), subtle (siik~ma), and subtlest
(para). The gross path is called bhuvanadhva, the subtle path
tattvadhva, and the subtlest path ka/adhva-first bhuvanadhva,
then tattvadhva, and finally kaladhva.
The word adhvan means "path." Here, path has a twofold
meaning: it is either that path on which you tread, or that path
which you must dispose of, must discard. You have either to
tread on th,e path or discard the path. You can dispose of this
path only by the grace of your Master. And when you dispose
of this path, you reach the state of P arama Siva.
There is no question of realizing God through treading on
this path. You may tread for centuries and centuries and still
you· will be treading. So you must discard this path, dispose of
it. When you do dispose of the path, that is also called adhvan.
Disposing of it, however, can only be done by the grace of the
Master, who is the embodiment of Parama Siva.
That path which is said _to be gross is known as bhuvanadhva.
Bhuvanadhva means "the path of all the worlds." In
Saivism, these worlds are said to number one hundred and
11
KASHMIR SHAIVISM "The Secret Supreme"
eighteen. By one world, I do not mean one planet. This whole
cosmos, including suns, moons, stars, and planets, is called one
world. It has been found by yogins in samiidhi that there are
one hundred and eighteen worlds like this cosmos which have
been created. This combination of one hundred and eighteen
worlds is called bhuvaniidhva.
The complete system of the thirty-six tattva:;, which I have
explained earlier, is called tattviidhva. Tattviidhva means "the
course of all elements," the path of the tattvas. This is that path
which is subtle.
That path (adhvan) which is more refined than tattviidhva is
known ·as kaliidhva. That path is the subtlest. Kaliidhva consists
of five kaliis, which are five boundaries or enclosures.
These kaliis are enclosures for all of the thirty-six elements, the
thirty-six tattvas, from earth up to Siva. The first and outermost
enclosure is called nivritti kalii. In nivritti kalii you will find the
first tattva,p,ithvz tattva, the element "earth."
The next kalii or enclosure is pratiethii kalii. In pratiethii
kalii you find the twenty-three tattvas from jala tattva, the element
"water," up to and including prakriti tattva. The nextenclosure
is known as vidyii kalii. Vidyii kalii contains the.
seven tattvas, from puruea tattva up to and including miiyii
tattva. The next enclosure is called siintii kalii. Santa kalii contains
the four tattvas from suddhavidyii tattva up to and including
sakti tattva, the thirty-fifth tattva. The fifth and last enclosure
is known as siintiitlfii kalii. Here, you will only find the
existence of siva tattva.
This course of the threefold adhvans is called viicyiidhva.
The word viicya means "that which is observed, spoken, told."
So viicyiidhva is the path of that which is observed, seen, realized.
It is called viicyiidhva because it is seen, it is observed, it
is created, it is felt. It is the objective cycle of this creation.
Now, we must tum to its observer, the creator of this
adhvan. The creator of the threefold path of the universe
12
The Six Fold Path of the Universe ($at;iadhvan)
known as viicyiidhva is called viicakiidhva. The meaning of the
word viicaka is "that which observes, sees, and creates." And
so that path which observes, sees, and creates is called
viicakiidhva. It is the subjective cycle of this creation. And, like
viicyiidhva, viicakiidhva, is also composed of three paths:
gross (sthiila), subtle (siik~ma), and subtlest (para).
Gross (sthiila) viicakiidhva is called padiidhva and consists
of sentences; sentences are said to be gross. Subtle (suk~ma)
viicakiidhva is called mantriidhva and consists of words,
because words are known to be more subtle than sentences.
Subtler than mantriidhva, the world of words, is the path ofletters,
called van:ziidhva.
Take any object, such as a pot. That object will fall in the
threefold world of viicyiidhva. It is an offshoot of the thirty-six
elements. On the other hand, the word "pot" is viicakiidhva for
this object. So, this object is viicya and its viicaka is the word
"pot."
The combination of all of t!Jese six adhvans, the three objective
adhvans and the three subjective adhvans is called
~at;iadhva, the six fold adhvans. This is the explanation of this
whole universe, both subjective and objective.
13

यस्त्विन्द्रियाणि मनसा नियम्यारभतेऽर्जुन  । कर्मेन्द्रियैः कर्मयोगमसक्तः स विशिष्यते  ॥७॥ yastvindriyani manasa niyamyarabhate ‘rjuna / karmendriyaih karmayogamasaktah sa vishishyate //7// SWAMIJI: Yastu, on the opposite [side], that person who through mind controls all the organs, through mind he controls all the organs, all the temptations of organs he controls through mind; niyami arabhate arjuna karmendriyaih karmayogam, and he does all the activities of the world–karmayoga–he does everything. He goes to the office, he works there for the whole day. And he comes back and he goes to movie, he talks, he laughs, he does everything, but his consciousness, his mind, is focused towards the pathway of God consciousness. That is, he is never absent from the breathing cycle of abhyasa, meditation. Internally, he is watching his breath; externally, he is doing all the activities. Karmendriyaih karma yogam asaktah, without attachment, without being attached to those things which he does outside in the world, sa vishishyate, he is fortunate, he is the right person who is fortunate. So for you, I advise you, O Arjuna . . . नियतं कुरु कर्म त्वं कर्म ज्यायो ह्यकर्मणः  । शरीरयात्रापि च ते न प्रसिद्ध्येदकर्मणः  ॥८॥    niyatam kuru karma tvam karma jyayo hyakramanah / sharirayatrapi ca te na prasiddhyedakarmanah //8// . . . so niyatam karmanam, only those activities you should do, you should indulge in those activities only, which are advisable. Not to do plundering, not to do looting, not to do adultery, not to do all these wrong activities. But [do] those activities which are advised by your master and your shastras; you should do those activities, you should indulge in those activities. Niyatam (niyatam means shastryam, niyatam does not mean you should do activity always), niyatam, [means] which are nominated by shastras, and which are nominated, prescribed, by your master, those actions you should do. Karma jyayo, doing action is better than doing nothing, because while doing nothing he does everything. Internally, he does everything. When I left . . . one time I left my home and went to the forest . . . DENISE: Sadhuganga. SWAMIJI: Sadhuganga. . . . and in meditation I was . . . [seeing] all those things which were in my bedroom, in my bathroom, in my dressing room, there at Fatakadal [in Srinagar, Kashmir], I would see them. I would see them absolutely vividly there. So impressions were there; all impressions were with me. I had not shunned those things because they came, they appeared at the time of meditation, there, in the forest where there was nothing, only the wind and God. So, sharira yatrapi ca te na prasiddhye, this body cannot stand without doing no actions . . . with doing no actions. If you do no activity body won’t stand, you have to throw this body off. Because sometimes you have to eat, sometimes you have to go to bathroom, sometimes you have to go for playing badminton, sometimes you have to go to see cinema, sometimes you have to go to talk, sometimes you have to laugh. You have to do so many things. This body cannot remain without doing these things. If you maintain this body without doing actions, you will do all those things internally through mind. That is what he says. Sharira yatrapi ca te, this bodily sphere of life also cannot exist without doing actions. The actions will be there. यज्ञार्थात्कर्मणोऽन्यत्र लोकोऽयं कर्मबन्धनः  । तदर्थं कर्म कौन्तेय मुक्तसङ्गः समाचर  ॥९॥ yajnarthatkarmano ‘nyatra loko ‘yam karmabandhanah / tadartham karma kaunteya muktasangah samacara //9// So, doing actions in this world without sacrificing it for God, that is yajnartha, this activity should be done for God, for the sake of God, for realising God. Activity of cooking, activity of working, activity of going to cinema, should be adopted for realising God, for realising your nature. If it is done without that impression, loko ‘yam karma bandhanah, all this world will be entangled in the trap of activities. He won’t get rid of that cage. Tadartham karma kaunteya muktasangah, so being unattached to it, detached from your activities; do your activities for the sake of realising God but not for the sake of good for your livelihood. This is what I mean, this is Lord Krishna’s . . . DENISE: You mean to keep that idea in mind that, “I am doing this for the sake of God.” JAGDISH: Yajna. SWAMIJI: Yes, yajna. Yajna means . . . yajna does not mean niskama [without desire] there. Yajna is just . . . JAGDISH: Sakam. SWAMIJI: Not sakam [with desire]. . . . just for the sake of God realisation. JAGDISH: That concept. SWAMIJI: That concept. JOHN: So when there is devotion to God, everything should be an offering. SWAMIJI: It is offering, these are offerings to God. I am cooking food, just [think] it is His work, it is His work. So the impression of cooking will be transformed in abhyasa [practice] in the dreaming state. You will see, if you do this way of activity in this world, in wakefulness, [then] in the dreaming state you will see the fruit of that will be that, you are watching your breath in the dreaming state. So this is certificate. That certificate should be produced in dreaming state, then you are on the right path. Otherwise, you are misbehaving . . . DENISE: In waking state? SWAMIJI: . . . in waking, yes. JOHN: So, making offerings of these things to the Lord means to maintain awareness in all of your activities. SWAMIJI: Yes. JOHN: When going to the bathroom, when you are walking . . . SWAMIJI: Yes. Go on, go on, go on; don’t keep yourself away from maintaining that one-pointed-ness. That is what he means by this “doing action, activity.” Tadartham karma kaunteya mukta sangah samacara, O Arjuna (kaunteya means Arjuna), O Arjuna, for that sake you should do activity in this world, not for any other sake. Not for any other selfish things. Not for your husband, not for your sons, not for your kids, not for your own nature, Self, but for the sake of realising God. JAGDISH: Mukta sangah is these worldly things? SWAMIJI: Mukta sangah is yes, be detached from the world. सहयज्ञाः प्रजाः सृष्ट्वा पुरोवाच प्रजापतिः  । अनेन प्रसविष्यध्वमेष वोऽस्त्विष्टकामधुक्  ॥१०॥ sahayajnah prajah srishtva purovaca prajapatih / anena prasavishyadhvamesha vo ‘stvishtakamadhuk //10// Prajapatih Lord Shiva . . . . Prajapatih does not mean as other commentators have commentated upon as Prajapatih is Brahma. It is not Brahma there. Prajapatih means Lord Shiva. . . . Lord Shiva, when he created, while creating this universe, while creating these individuals in this world, purovaca prajapatih, Lord Shiva told them, while creating those individuals, He told them, instructed them, advised them, anena prasavishyadhvam, rise, go on rising in your own way by doing activities in this world. And esha vo astu ishta kamadhuk, this activity will sentence you, will divert you, towards the realising state of God consciousness. He also advised them when He created that world. So . . . देवान्भावयतानेन ते देवा भावयन्तु वः  । परस्परं भावयन्तः श्रेयः परमवाप्स्यथ  ॥११॥ devanbhavayatanena te deva bhavayantu vah / parasparam bhavayantah shreyah paramavapsyatha //11// This also He advised, Lord Shiva advised to people, when he created this universe. Anena devan bhavayata; anena, by this way, you should worship your cycle of organs. Deva means the cycle of organs. The cycle of your organs, you should give life to the cycle of your organs by doing activity in this way; go on doing, go on eating food with awareness, go on seeing forms with awareness, go on smelling worth smelling [fragrant] flowers etc., with awareness, go on hearing sounds with awareness, go on perceiving the touching sensation with awareness, [do activities] all this way. This way you should fulfil the desires of your own organs, this way. And they will fulfil your desire, and those organs will in turn fulfil your desire, parasparam bhavayantah, they will fulfil your desire. What is your desire? To remain in the establishment of God consciousness. Shreyah paramavapsyatha, supreme peace will shine before you, after doing this way of actions. इष्टान्कामान्हि वो देवा दास्यन्ते यज्ञभाविताः  । तैर्दत्तानप्रदायैभ्यो यो भुङ्क्ते स्तेन एव सः  ॥१२॥ ishtankamanhi vo deva dasyante yajnabhavitah  / tairdattanapradĺyaibhyo yo bhunkte stena eva sah //12// Ishtankamanhi vo deva, those organs, which you have fulfilled by actions, whose desires you have fulfilled with actions . . . You know, you understand what I mean? DENISE: Yes. SWAMIJI: . . . dasyante yajnabhavitah, ishtankaman, abhishta, desires, desires which you want, which you really desire, wish. What is your desire? Your desire is to remain in God consciousness. They [your organs] will put you in God consciousness. After getting established in God consciousness, tairdattan apradayaibhyo, then if you remain always in God consciousness and do nothing for your organs, you are absolutely [thief]. You have snatched the treasure from your organs, and in return, you have not served them. You are not serving those organs. You are a kind of thief. You have snatched that treasure from them and you do not do activities again. Again, you should do activities in the world. Go on doing activities . . .  . . . God consciousness like that. Remain in . . . come down from that God consciousness with awareness and do the activities of these organs for the organs' sake. DENISE: Satisfy them. SWAMIJI: Satisfy them. Satisfy them, and in turn, they will again push you back in God consciousness. Again, you will come down and satisfy them and they will push you again in God consciousness. This way life must be conducted. This is the real way of life. This we don’t do! Some Vedantists snatch away that God consciousness from them [their organs] and remain there, and then they become vulgar, they become brutes. Because this God consciousness fades away, fades away, by and by, by and by, it fades away, and it is nothing, it is only just deceiving people, deceiving people always. No, you should not do that. You should come down from God consciousness and serve them again with awareness. And in turn they will push you back [into God consciousness. Then you should go again to serve them. This way you should conduct your activities in your lifetime. JOHN: What do Vedantins do? They don’t . . . they get to that state of . . . SWAMIJI: And remain in that [state] saying, bas, they have achieved. They have not achieved. It is temporary achievement. You have to do all this thing up to death, then it will be permanent. यज्ञशिष्टाशिनः सन्तो मुच्यन्ते सर्वकिल्विषैः  । भुञ्जते ते त्वघं पापा ये पचन्त्यात्मकारणात्  ॥१३॥ yajnashishtashinah santo mucyante sarvakilvishaih / bhunjate te tvagham papa ye pacantyatmakaranat //13//   Santa, those sages who just yajna shishtashinah, they shishta, shishta means what remains behind, what is saved after that, the thing which is saved after doing this activity–organic action, and action of the internal sphere of God consciousness–whatever is saved, that little bit you should eat, you should use that little bit. But don’t strive to enhance that little bit with your own effort. What have you to do there? DENISE: I don’t know what you mean, what is saved? SWAMIJI: For instance you have served your organs . . . DENISE: Yes. SWAMIJI: . . . with awareness. You have to serve your organs, give them whatever they need. And in return they will push you back in God consciousness. But you are established in God consciousness not for always. It is a temporary achievement. That temporary achievement should not be perceived as if it is a permanent achievement. It is not a permanent achievement. It is a temporary achievement. It is temporary just the cost of that service. You have received that cost. Don’t think that it is your own treasure now for your lifetime. You have to come down again and serve them. Whom? DENISE: Your senses, organs. SWAMIJI: Your senses. And they will, in return, they will push you back. You have to serve them then they will push, push, push and go, push and go, push and go . . . and in the end you’ll be established; finally you will be established in the real state of God consciousness in the end. DENISE: And then what’s left over? You were going to tell me what’s left over? SWAMIJI: Hum? DENISE: That little bit that’s left over? SWAMIJI: The actual joy of God consciousness, which you have momentarily, which you have got momentarily, bas, a little bit, that. That is the yajna shishta. But don’t strive to enhance that by yourself. Don’t strive to increase that by yourself. DENISE: It won’t? SWAMIJI: It won’t be, you can’t increase it. You can increase it only by serving your senses in the right way. When you serve your senses in the right way then they will push you back in God consciousness. By this way it becomes stronger and stronger and stronger, and in the end it is strongest. When it is strongest you are one with God. That is the real state of jivan mukta. JOHN: Jagadananda? SWAMIJI: Jagadananda, everything. JAGDISH: Yajna shishta is that what you get after serving . . . SWAMIJI: Yajna shishta. Yajna shishta is that remaining in one-pointed-ness of God consciousness. That is yajna-shesha. Yajna-shesha is not what we do in yajna [when] I perform the yajna of my master, afterwards what we call shesha is that ‘khir’ [rice pudding], and bata [rice] and ‘chapatti’ [unleavened bread] and ‘dhal’ [lentil soup] and ‘paratha’ [ghee chapatti], and you eat that. That is yajna shesha there. But here it is not; yajna shesha is a separate thing. Yajna shesha is the actual joy of God consciousness which remains for some moments. Afterwards, if you are confused [about] what has happened, [when] it is not there. The remedy for catching hold of this is, to go and serve these with awareness. JAGDISH: Senses. SWAMIJI: Senses. That is: you should walk, you should walk with awareness, you should talk with awareness, you should eat with awareness, you should do everything, all external things. And then in its return, you will be pushed back [into God consciousness]. So you have to do this. This way the life is concerned. That is yajna shishta. That yajna shesha, which is used by santa (santa means those ancient sages), mucyante sarvakilvishaih, they are freed, they are liberated, from all the impurities and sins of the world. JAGDISH: Yes. SWAMIJI: Bhunjate te tvagham papa, those people who think that they have snatched this joy from these senses and they take hold of that, it [that joy] does not remain. So that is not yajna shesha, that is not yajna shesha. They are not eating yajna shesha, they are not using yajna shesha, they are using sin [papa], they are eating sin there. GEORGE: Snatching. SWAMIJI: Snatching that temporary joy from them and . . . DENISE: Then not serving them. SWAMIJI: . . . and not serving them in return. GEORGE: Can that also mean that when you are having that glimpse of God consciousness you attribute it [to yourself] that, “I did that, I am great”, rather . . . SWAMIJI: No, what should you do about that ego. That ego, keep that ego on one side. But take care, take care of your senses. Those are gods. Deva indriyani vrittaya, your own organs are devas, gods. You have to serve those gods in return, and in return, they will make you achieve that God consciousness. Afterwards, you have to serve them again. That is [it]. JAGDISH: Ashinah is to be satisfied always? SWAMIJI: Ashinah means eating, using. JAGDISH: And mucyante? SWAMIJI: Yajnashishta-ashinah, those who eat yajnashesha, mucyante sarvakilvishaih, they are liberated from all sins. [But] bhunjate te tvagham papa, those people eat, not yajnashesha; they eat sin, [i.e.,] ye pacantyatmaka, those who eat for their own self [enjoyment], not satisfying their organs. DENISE: Then they are thieves. SWAMIJI: Yes. JOHN: This eating goes to all five senses, this is to all senses, whatever it is. SWAMIJI: Yes. DENISE: I have one question, though. It’s not possible for everybody to watch their breath when they are doing all actions in the world. Is that easier to think when you are doing actions in the world, that I’m doing this for the sake of God? SWAMIJI: That is also maintains awareness [but] not to that extent. But it helps. It is according to the capacity of sadhakas [aspirants]. JOHN: Some things are easier than other things. SWAMIJI: Something is better than nothing. JOHN: Talking is very . . . SWAMIJI: Yes. JOHN: . . . tough.

Long after Sage Durvasa was first initiated into Shaivism by Lord Shiva on Mount Kailash, the Lord felt the need to explain it in greater detail to make it easily understandable to larger masses of spiritual seekers of varying intellectual levels and occupational pursuits. This caused Lord Shiva to reincarnate himself in the form of four successive masters in Kali Yuga, namely (1) Erakanātha, also known as Shivanāndanātha, (2) Vasugupta, (3) Somānandanātha, and (4) Shambhunātha, the Guru of Abhinavagupta, the last in the lineage of masters of Kashmir Shaivism (also known as Trika philosophy) of the medieval times. All these masters assumed human forms only for our benefit, for our spiritual enlightenment, which alone guarantees liberation from the vicious circle of transmigration (samsāra) and total deliverance from the suffering attending thereon.   Pratyabhijñā System Shri Somānandanātha was the first and the foremost to teach the Pratyabhijñā School of thought, the highest within the Trika System of philosophy (more popularly known as Kashmir Shaivism). This System is best suited to seekers with a higher intellectual level and purity of mind. Pratyabhijñā System rests basically on the principle of recognition – recognition of the perfect identity of the individual soul i.e. Shiva. Jīva is none other than the peerless Shiva Himself who, in His state of exuberance of bliss (ānanda) has, of His own sovereign will (svātantrya) manifested Himself in the multitude of forms, each with distinctly different characteristics in terms of powers as well as functions, i.e., Shiva in his manifest form (in immanence) assuming limited powers and functions characteristic of jīva, retaining at the same time His transcendental nature. The Pratyabhijñā System does not advocate the methods and means of vikalpa kṣaya (eradication of thought constructs or withdrawal of the senses of perception from their respective objects of perception) nor does it endorse the adoption of techniques, which lead to the expansion of powers of perception in terms of their range and depth to experience thereby their innate universal character. Instead, the individual needs to directly realize his identity with the Highest Reality and to BE IT. ‘Being it’ implies directly recognizing his true nature i.e. Supreme Consciousness, and to instantaneously resume the powers as well as functions characteristic of Lord Shiva. The former consists of Lord Shiva's (i) cit śakti (supreme consciousness) (ii) ānanda śakti (infinite bliss) (iii) icchā śakti (sovereign will), (iv) jñāna śakti (omniscience) and (v) kriyā śakti (omnipotence); whereas the latter, comprises His five universal functions (pañca krtya) namely (a) creation of the phenomenal world (sṛṣti), (b) sustenance thereof (sthiti), (c) its dissolution (samhāra), (d) the concealment of His true nature (pidhāna) and (e) the revealing of His true nature (anugraha) e.g. oneness of the manifest world of objects and the transcendental aspects of his Supreme Consciousness. In other words, it amounts to remaining in the full awareness of one's real nature (pañca krtya anusaraṇa). Once that happens, you are there. There is nothing else to do. If every moment you are aware of what you are doing, you are there. You have to closely watch your own thought process and get used to identifying the moment when a new thought construct arises (initial act of creation – sṛṣti); how long it continues (sustenance – sthiti) in terms of its depth and detail; and when it terminates (identifying the moment of its dissolution – saṁhāra) i.e. when in the process of perceiving, the subjective awareness disappears and when the same reappears. In each and every act of this world, one has to closely watch the moments of replication of the fivefold acts (pañca kritya) of Lord Shiva. In the course of time, one will realize that he has not suffered any loss of glory in terms of God-consciousness, be it lordly powers or universal functions. This is taught in Pratyabhijñā, which rests on the basic principle of recognition of the absolute identity of man and God. All means and methods (upāyas) are redundant here. The perfect identity between jīva (the limited being or the soul-in-bondage), and Paramātman (the supreme soul), leaves no room for any impurities in the so-called jīva who is none other than Shiva Himself. The so-called impurities have no independent existence to be able to cause any impediments. While explaining the Pratyabhijñā Sāstra, founded by his own Guru Shri Somānanda, in his own commentary called Vimarsinī, Shri Utpaladeva quotes a typical illustration of Pratyabihjñā as described here. Think of a young maiden girl of marriageable age, whose marriage has already been fixed with someone possessing a suitable family background, educational achievements, and other enviable qualities. She has, without seeing or meeting the would-be spouse, developed a passionate love for Him. Both may even be in correspondence through letters or personal messengers. Imagine a situation when, by chance, the two meet somewhere (like a place of pilgrimage or any public place). Even though the man of her dreams stands right before her and vice versa, neither recognizes the other, at least on the basis of their respective assessments through correspondence or verbal descriptions of their physical personalities and qualities of head and heart by someone else. The meeting turns out to be just ordinary without yielding any joy or excitement characteristic of a meeting between two lovers. Suddenly, someone knowing both and their anticipated relationship turns up on the scene and reveals their respective identities. The whole scenario changes dramatically. Their hearts are flooded with joy of love; their bodies and minds experience surges of deep satisfaction, and each rejoices in the occasion like never before. Utpala, in his Vimarsini, deduces that likewise in the case of an earnest seeker, often his own spiritual teacher provides him the necessary inspiration at the spur of the moment, which makes him identify and enjoy and recognize those blessed occurrences of boundless peace and transcendence. That is how the principle of Pratyabhijñā Śāstra of Kashmir Shaivism was instilled in the heart of Utpaladeva by his teacher, Shri Somānanda. This approach of reality is, however, applicable to only those spiritual seekers who have the highest ability and need not resort to any particular upāyas (means or methods). For such people, however, who need to resort to one or the other specific upāyas because they are relatively less qualified in terms of purity of mind and intellect, they are recommended to adopt other means or paths.   Kula System For the next lower grade of sādhakas, i.e. those who are not qualified for Pratyabhijñā, Lord Shankara (Shiva) has assumed the form of the Kula System. The Kula System propounds the thought of totality of energies, which in turn, is based mostly on Śāmbhava upāya and to a lesser extent on Śākta upāya, the former being more predominant. Briefly, this system advocates the technique of 'yoga in action' explained by me on a previous occasion. This approach of the Kula System does not envisage retreating into solitude, like chosen places of meditation, shutting off all lights, resorting to prāṇāyāmas (practicing of breath control) and thereby enjoying induced moments of quietude popularly known as samādhi. The school of Kula System was first established by Macchandanātha for those not suited outright for Śāmbhava upāya, let alone qualified for Pratyabhijñā. Kula stands for the totality of energies. For example, when a person is busy listening to someone's voice or music, he cannot simultaneously talk to someone else, nor can he undertake other activities like discerning seriously and performing other tasks simultaneously with the same efficiency. The Kula System precisely teaches how one can deploy all his organs of action and senses of perception at the same time with maximum efficiency, as is characteristic of Lord Shiva, who is all-pervading. The tongue will continue talking as well as tasting food and analyzing the same, smelling various fragrances and distinguishing each one from the other through the nose, perceiving various objects with the eyes at the same time, and keeping track of other events like touch through the skin and sense of tactility all at the same time. This involves mastering the art of maximizing the efficiency of all sense perceptions and organs of action simultaneously with full awareness of one's real nature. That ensures the establishment in Yoga of Action. Remember the quote: "sarva śakti cetasa darshanāt yaḥ yoga pathena madhyataḥ". The Kula System thus trains a seeker to overcome the limitation of using one channel of energy at a time, thus leading to deprivation of his inherent freedom of will, knowledge, and power of action, all of which are contrary to his true nature. The Kula System, on the contrary, teaches exactly how to use all faculties at the same time and thereby release his svātantrya Śakti to accomplish anything he desires, while remaining centered in his self-awareness. This approach was initially found by Shri Macchandnātha and later on propounded in greater depth and detail by Acharya Śāmbhunātha, the Guru of Bhagavatpada Shri Abhinavagupta Ācarya. This system of Kula technique ultimately leads one to the mindless state (unmanā bhāva) where his sovereign will operates at a universal level with no consideration for any individual desire. Individual desires just don’t exist there. Once established in that exalted state of consciousness, one experiences perfect control over the totality of energies (śakti cakra). This practice leads him to shed off all his limitations and restore his full mastery of the totality of energies. At his mere will, he has everything at his command. Naturally, one does not harbor any individual or personal desire; and universal desire is no desire. Instead, it is cosmic in character and as such is a mere reflection of God-consciousness. At such an advanced level, this yogi becomes qualified for Śāmbhava upāya, a step lower than the established yogi. This technique is also known as Viśvavyāpī Yoga (the Yoga of universal pervasion).   Krama System Yet lower than the above is the Krama System of thought suited to the lower grade of spiritual seekers. Krama System essentially rests on the principle of succession or sequence, also called Krama theory. This involves an investigation into how and what causes the supreme consciousness to descend to the level of limited being (i.e. jiva or soul-in-bondage) and his retrieval i.e. to his ascending back to his original state of glory viz. the ultimate state of reality. The principle of succession or sequence is threefold in nature, and it operates in terms of space, time and form. In other words, the Krama System rests on these three concepts, those of space (deśa), time (kāla) and form (rūpa) of the object of perception. This system is also known as Kālī Śāstra. The Krama System advocates deep concentration on all three concepts. For example, take the case of our own breathing. One inhales a breath, and then he exhales the same. One has to mark how long he breathes in (pūraka), how long it takes to exhale (recaka), and how long the in-between pause (kumbhaka) is. This needs unbroken awareness on the part of the seeker to discern fully the natural duration of the incoming breath (apāna vāyu) and the outgoing breath (prāṇa vāyu), and the duration times of the two in-between pauses at the commencement and termination of each of the two viz. inhalation and exhalation, which together constitute one full cycle of breath. In particular, one has to develop perfect awareness of the pause time (sandhi or junction), which provides a peephole to the realm of pure consciousness marked with intense peace and tranquility. This concerned practice in the Krama System ultimately leads one to the state of transcendence (akrama padavī). Akrama padavī is synonymous with Lord Shiva's state of transcendence. It is that state which is beyond space, time, and form. Once one enters into that state, he virtually crosses the barriers of space, time, and form. So one needs to fully understand the concepts, analyze their nature in terms of their range (deśa), duration (kāla), and repeatedly recognize the pause time (junctions), thereby gaining entrance into the Ultimate Reality i.e., Shiva. This was first taught by Airakanātha, also known as Shivānandanātha, the author of Shri Kālikā Stotra. The Krama System is of course, very ancient, and historically it precedes the period during which Pratyabhijñā Śāstra was revealed by Shri Somānanda and later on elaborated by Shri Utpala Deva in his Vimarsini on Śiva Dṛṣṭi. The technique of Krama is based partly on Āṇava upāya and partly on Śākta upāya. The āṇava state lasts throughout the initial period of practice when the seeker resorts to concentration on space, time, and form. Once he starts overstepping them, he automatically enters into Śāktopāya. When he becomes firmly established in spacelessness, timeless-ness, and formlessness, he is further elevated and becomes qualified for Śāmbhava upāya.   Spanda System There is yet another school of thought in Kashmir Shaivism that is ranked as the fourth in order of merit, viz, the Spanda School of thought. It is comprised of Śākta and āṇava upāyas. The Spanda School of thought rests on the principle of movement – movement forming the basis of the revelation of one's nature – any kind of movement, not necessarily physical movement. Consider the case of a hand at rest. Even when it does not move, it is still invested with the power of moving. If that power were not there, it would be a dead man's hand. It is obvious that though it’s not moving externally, the power of motion exists, and some movement is still going on within the veins of the hand. We are all aware that during the interval of two successive heartbeats, how fast the blood rushes throughout our capillary system, though not perceived by our naked eyes. Imagine it traverses through 72,000 major and minor veins by the time the heart beats once. Thus, the soul reveals its power of movement. This becomes more and more clearly revealed through appropriate methods of concentration on different forms of movements, making it possible to ultimately discern the changeless state of Spanda Śakti. One such illustration, often observed by us, is provided by an electric fan. Once it is switched on, the blades start rotating and at increased speeds, even though they rotate so quickly, yet the objects behind the moving blades remain distinctly clear; the blade in motion allows full view of the still objects in the background. The Spanda System thus lays emphasis on the acceleration of the sense perceptions involving movement so intensely that the underlying changeless (movement-less) state of Spanda comes into clearer and still clearer perception. The one-pointedness of concentration constitutes the key to our discernment of the changeless state of Spanda right amidst the process of intensely fast-occurring perceptions. In the case of the fan at maximum speed, we clearly see only the space in which the blades move, certainly not the blades. Besides, we hear the sound caused by the continuous air displacement as well as the mechanical sound of the equipment. Thus, the more intense the effort of concentration, the greater the chances of one's entrance into yogic trance, which is the state of motionlessness characteristic of Lord Shiva, the highest state of quietude (nispandata). Thus, all forms of motion (activity), like the processes of sense perceptions and activities through our organs of action, will ultimately get transformed into that sublime state of motionlessness and hence unbroken awareness. This System of Spanda thought was evolved by Shri Vasugupta, who himself got it from Lord Shiva through the Shiva Sutras engraved on the huge boulder named Shankar Pal in Dachigum National Park, Kashmir, India.

Secret Supreme – Chapter Thirteen The Birth of the Tantras At the beginning of Satyuga Lord Śiva appeared in the form of Svacchandanātha, with five heads and eighteen arms. His five heads came into manifestation through his five great energies: cit śakti, all consciousness; ānanda śakti, all bliss; icchā śakti, all will; jñāna śakti, all knowledge; and kriyā śakti, all action. These five energies, which appeared in His five mouths, are known as – Īśāna, Tatpuruṣa, Aghora, Vāmadeva and Sadyojāta. Because of the grace (anugraha) of Lord Śiva, these five mouths experienced the sensation of illuminating the Universe.   Svacchandanātha – Aghoranātha You see, Lord Śiva wanted to enlighten the universe by manifesting the existence of the Tantras. In order to accomplish this, He manifested the sixty-four Bhairava Tantras, which are filled with monistic thought (abheda), and which are connected with Kashmir Śaivism. In the three yugas (ages); satyuga, tretāyuga, and dvāparayuga; masters and disciples were very great, and they were initiated verbally. The power of memory in them was so great that they remembered everything instantaneously, so there was no need to write anything down or to refer to books and papers. [But] when kaliyuga occurred, these masters and disciples were so disappointed they hid themselves in unknown places in order to avoid the touch of worldly people living at that time. Because of this the theory of the Bhairava Tantras and Kashmir Śaivism was lost. Lord Śiva, however, always wishes to illuminate the universe and so He reappeared in this world [at the beginning of kaliuga] on Mount Kailash, not in the form of Svacchandanātha with five mouths, but in the form of Śrīkaṇṭhanātha. Śrī Kaṇṭhanāth In the form of Śrīkaṇṭhanātha, [Lord Śiva] again taught the theory of the Bhairava Tantras to the sage Durvāsā Ṛiṣi, instructing him to expand the thought of the Bhairava Tantras in all the universe without restriction to caste, creed, color or gender. After Śrīkaṇṭhanātha taught Durvāsā Ṛiṣi in this manner, he disappeared into the ether. [ END ] — Excerpt #2 — Self-Realization in Kashmir Shaivism Talks on Practice (page 72) Svacchandanatha, while creating these Tantras through His five mouths, possessed eighteen arms. These eighteen arms are symbols of the eighteen elements or tattvas. These tattvas are offshoots of His five great Śaktis and are created in the following manner.  Cit-śakti gives rise to one element, manas-tattva, the element of mind.  Ānanda-śakti gives rise to two elements, buddhi and ahaṁkāra, the elements of intellect and ego.  Īcchā-śakti gives rise to the five vital airs (vāyu) of the body. These are prāṇa, apāna, samāna, udāna, and vyāna.  Jñāna-śakti gives rise to five elements known as the jñānendriyas, the five organs of knowledge: nose (ghraṇa), tongue (rasaṇa), eyes (cakṣu), skin (tvaca), and ears (srotra).  Kriya-śakti gives rise to the five organs of action, karmendriyas. These include the organ of generation (upastha), excretion (pāyu), mobility (pāda), holding (pāṇi), and speech (vāk). These eighteen arms of Lord Śiva, in the form of Svacchandanātha, are created by Lord Śiva for the protection of the individual, but in order to receive this protection, the individual must adhere to divine discipline [i.e., yama and niyama].

Chapter Fifteen: Kashmir Shaivism and Advaita Vedanta Although the main principle of both Kashmir Śaivism and Vedānta is monism (advaita), pure monism, yet there are many important differences in their thinking. For example, Vedānta masters teach that karmayoga means yoga in action. They believe that you must practice niḥṣkāma karmayoga, which means that you are to perform all the actions of the world without asking for any reward. They say that by acting in this way you are carried toward the existence of the Real Being, the Real Nature of Self. From our Kashmir Śaiva point of view, however, karmayoga means something else. It does not mean carrying out all of the activities of the world. Yoga in action is pure yoga and nothing else. Pure yoga is one-pointedness, and this one-pointedness must be developed in three ways. You must develop one-pointedness in the existence of your being. This is one-pointedness in the state of parā vāk (supreme speech). You must also develop one-pointedness in the state of madhyamā vāk (medium speech). And finally, you must develop one-pointedness in the state of vaikharī vāk (inferior speech), in the state of ordinary speech. In Śaivism, we begin with the central way, the way of madhyamā vāk. Kashmir Śaivism explains that yoga in action means that when you are seated in a bus, or when you are walking on the road, you must observe silence. Walk silently, sit in the bus silently. Do not talk to anybody. Continue your practice of contemplating Lord Śiva as you were instructed by your Master, without talking to anybody. This is how you begin. It is not possible at first to practice yoga while talking. In the beginning, you have to start with silence. This yoga in action is tremendously powerful. For example, if you were to continue your practice of contemplation for just fifteen minutes while walking, the benefit will be the same as you would acquire if you were to continuously practice contemplation in your meditation room for two or even three years. This is because yoga in action makes your practice of contemplation more firm, solid, and substantial. This is why Kashmir Śaivism puts stress on yoga in action, and not on that yoga which is inactive. In the practice of yoga in action in madhyamā vāk, you begin with silence. And when you rise from madhyamā, you will rise in the parā state of Śiva. This parā state will occur, however, only when you have completed your activity. For example, while practicing your contemplation, you take a ten mile walk, five miles going and five miles returning, after which you go home, where you sit in meditation. At this point, you will automatically enter the parā state of yoga in action and this will carry you rapidly to that state of Transcendental Being. You must enter into the parā state of yoga in action automatically. You cannot make it happen. If it does not happen, then you will have to begin again practicing contemplation in action. It is by the strength of yoga in action that you enter into the parā state of yoga. If your contemplation in action is spontaneous and break-less, then you will automatically enter into the parā state of yoga. If, on the other hand, your contemplation breaks at any time while practicing, then when you sit for meditation, contemplation on parā will not take place and you will have to begin again. This is called karmayoga. When you are established in the yoga of action in parā vāk, then, after some time, you have to travel from parā vāk to vaikharī vāk. Practicing yoga in action in vaikharī vāk means that you are to remain established in your own being while talking, while laughing, while carrying out all of the actions of the world. This kind of yoga in action in vaikharī vāk is not possible unless yoga in action in madhyamā vāk and yoga in action in parā vāk are complete. The sign of their being complete is that whenever you practice yoga in action in madhyamā vāk and afterwards you sit and meditate, you enter into parā vāk, you are inside, residing in your own Nature. Establishing yoga in action in vaikharī vāk is the completion of the course of yoga in action. Here, you remain established in your own Being in all the activities of the world. It is said that Lord Kṛiṣṇa was perfectly established in yoga in action in vaikharī. He was very active, doing everything while remaining established in his own nature. The first difference, therefore, between Kashmir Śaivism and Vedānta is in their different understanding of karmayoga. This difference, as you have seen, is very great, with the Vedāntins believing that karmayoga means doing all actions without asking for their reward and our Kashmir Śaivism teaching that yoga in action means doing all actions while maintaining a break-less contemplation of God. Another difference between Kashmir Śaivism and Vedānta concerns the existence of individual being and Universal Being. The Vedāntins explain that individual being is manifested only when Universal Being is reflected in the mirror of the individual intellect. They say that Universal Being is reflected in the intellect (buddhi) and that reflection becomes the existence of the individual being (jīva). Kashmir Śaivism, however, does not recognize this explanation, arguing that it is without any basis. As Universal Being is absolutely pure and perfect and individual being is filled with imperfections (malas) and covered by veils, it is not buddhi that will reflect Universal Being, but rather, it is Universal Being that will reflect buddhi. It is the purer and more refined reality which will take the reflection of that which is less pure and refined and not the other way around. Buddhi cannot hold Universal Being. Kashmir Śaivism explains that when Śiva is reflected by His pure will in the mirror of his freedom (svātantrya), this is the existence of the universe and the existence of individual being. Furthermore, in the theory of the Vedāntins, it is not clearly explained how, if the world were not existing, buddhi, in which Lord Śiva is to be reflected, could exist at all. How could the intellect (buddhi) exist before the existence of the world? Therefore, individual being is the reflection of Lord Śiva in His svātantrya śakti. This is the existence of the universe. The third area of difference between Kashmir Śaivism and Vedānta concerns the essence, the substance, the basis of this universe. Vedānta holds that this universe is untrue, unreal. It does not really exist. It is only the creation of illusion (māyā). Concerning this point, Kashmir Śaivism argues that if Lord Śiva is real, then how could an unreal substance come out from something that is real? If Lord Śiva is real, then His creation is also real. Why should it be said that Lord Śiva is real and His creation is an illusion (māyā)? Kashmir Śaivism explains that the existence of this universe is just as real as the existence of Lord Śiva. As such, it is true, real, pure, and solid. There is nothing at all about it which is unreal. The fourth important difference between Kashmir Śaivism and Vedānta is that Vedānta does not recognize kuṇḍalinī yoga. The Vedāntins say that kuṇḍalinī yoga is meant for those who are treading on the inferior path of yoga. From our Kashmir Śaivite point of view, however, kuṇḍalinī yoga is the most important yoga in this system. Kashmir Śaivism explains that there are three paths of kuṇḍalinī yoga: parā kuṇḍalinī yoga, cit kuṇḍalinī yoga, and prāṇa kuṇḍalinī yoga. Parā kuṇḍalinī yoga is supreme kuṇḍalinī yoga. It is functioned by Lord Śiva with the universal body, not the individual body. Cit kuṇḍalinī yoga is kuṇḍalinī in consciousness. Prāṇa kuṇḍalinī yoga is kuṇḍalinī in breath. The fifth significant difference between Kashmir Śaivism and Vedānta concerns the question of who is fit to practice this monistic teaching. Vedānta holds that this teaching can only be practiced by “worthy people” such as brahmins with “good qualities.” In fact, Śaṁkarācārya holds that Vedānta is meant only for saṁyāsins1 and not others. From the Vedāntic point of view, women and other castes are not allowed to practice the Vedāntic system. This point of view, however, is not recognized by our Kashmir Śaivism. Kashmir Śaivism teaches that this monistic thought can be practiced by anyone, man or woman, without the restriction of caste, creed, or color. In fact, our Śaivism teaches us that this thought can be practiced more fruitfully by women than by men.2 Kashmir Śaivism, therefore, is a universal system, pure, real, and substantial in every respect, which can be practiced by all.

Now 30th śloka. This is the ending śloka. DVD 7 (1:16:40) साधिभूताधिदैवं मां साधियज्ञं च ये विदुः  । प्रयाणकालेऽपि च मां ते विदुर्युक्तचेतसः  ॥३०॥ sādhibhūtādhidaivaṁ māṁ sādhiyajñaṁ ca ye viduḥ  / prayāṇakāle’pi ca māṁ te viduryuktacetasaḥ  //30//   Those people who understand what is sādhi-bhūta, those people who understand what is sādhi-yajñaṁ, these people, at the time of death, they get entry and are united in Me in the end. But he [Kṛṣṇa] says here, prayāṇakāle, at the time of death, they get entry in Me. Abhinavagupta commentates upon [this that] at the time of death, you should not know that “at the time of death, they get entry in Me.” It is only when they practice this in their lifetime, then at the time of death also they will do the same thing. Kim janmāsevanayā [comm. verse 30], those people who say to people, “what is the use of thinking of Lord Śiva from your birth to death? Why should you not think of Him [only] at the time of death? At the death time, we will think of Him and get mokṣa.” If those people who say this, what shall I tell them? Teṣāṁ tūṣṇīṁ bhāva eva śobhana, to them, I have no words to tell them [except], “what are you barking?” Iti śivam. DVD 7 (1:18:54)  Now the conclusion of this chapter.   स्फुटं भगवतो भक्तिराहिता कल्पमञ्जरी  । साधकेच्छासमुचितां येनाशां परिपूरयेत्  ॥७॥   sphuṭaṁ bhagavato bhaktirāhitā kalpamañjarī  / sādhakecchāsamucitāṁ yenāśāṁ paripūrayet  //7//   ॥ Concluding śloka of 7th chapter ॥ The bhakti, the devotion of Parabhairava, if you have possessed that devotion of Parabhairava, you [should] understand that you have got kalpalata. Kalpalata is that lata, that creeper in heaven; whatever you ask, it gives, it bestows to you. It is called pāri-jāta-mañjarī. In heaven, in a particular heaven, there is pāri-jāta-mañjarī if you go and ask for what you need, and it will be bestowed to you. Whatever you think – if you need money, it will come, if you need anything, it will come. And if you need God consciousness, it will come. It is kalpa mañjarī. And in the same way, the real kalpa mañjarī is devotion towards Bhairava. This is the real, real kalpa mañjarī. It will give you the success of entering in Parabhairava state in the end. Sādhakecchāsamucitāṁ yenāśāṁ paripūrayet, and all [worldly] desires are shunned and [sādhakas] are successfully taken inside the state of Parabhairava in the end. iti śrīmahāmāheśvarācāryavaryarājānakābhinavaguptapāda- viracite śrīmadbhagavadgītārthasaṃgrahe saptamo’dhyāyaḥ 7th chapter is finished. (no transcript for concluding discussion by John, Denise and Shanna Hughes, and George Barselaar about Swamiji’s birthday habit of remaining in Samadhi for hours and the importance of meditation.) PART TWO:   BG audio CD 469a ch 7 (01:25)   साधिभूताधिदैवं मां साधियज्ञं च ये विदुः  । प्रयाणकालेऽपि च मां ते विदुर्युक्तचेतसः  ॥३०॥ sādhibhūtādhidaivaṁ māṁ sādhiyajñaṁ ca ye viduḥ  / prayāṇakāle’pi ca māṁ te viduryuktacetasaḥ  //30//   Those persons who understand me as adhibhūtā, adhidaiva and adhiyajña; those people who understand me as adhibhūtā, adhidaiva and adhiyajña, these three–these three names are attributed to Lord, Lord Śiva: adhibhūtā, adhidaiva and adhiyajña–and those persons who understand me as such, adhibhūtā adhidaiva and adhiyajña (he will define in next chapter, he will define all these, so it is not needed, we don’t need to explain it here), prayāṇakāle’ pi ca māṁ te viduryuktacetasaḥ, at the time of death also they understand Lord Śiva in fullness, they will, necessarily, because their mind is one-pointed, yuktacetasaḥ. ādhyātmikādhibhautikādhidaivikādhiyajñikāni ca mamaiva rūpāntarāṇi  / (comm.) Ādhyātmika, ādhibhautika, ādhidaivika, ādhiyajñika, these four stages of actions. Ādhyātmika, ādhyātmika actions are those who appear in your own body that is ādhyātmika. Ādhidaivika . . . [Ādhyātmika] these are actions in your body. For instance mood change, love, hatred, it is ādhyātmika.  This is ādhyātmika . . . JOACHIM:  This is emotional element especially. SWAMIJI:  Yes, residing in your own body, in your own nature. Sometime you are happy, sometime you are sad, sometime you think that you are God yourself, and sometime you think you are nothing, you have gone, you are mixed in dust, all these things, it is ādhyātmika. Ādhidaivika is that which comes from . . . JOACHIM:  Sensual organs? SWAMIJI:  No. . . . which comes from gods. That is thunders, clouds, rains, earthquakes, fire. ERNIE:  Trees growing, plants? SWAMIJI:  Trees growing, it is adhibhūtā. And this is also my expansion, that too is also my expansion. Ādhyātmika, ādhibhautika and ādhiyajña. Ādhiyajña is that which rises from yajñas, from sacrificial fires, that fruit which comes out from that. Ādhibhūta is that which comes from bhūtas, five elements, five great elements: earth, water, etc. JOACHIM:  Earth, water, fire, air, and ākāśa. SWAMIJI:  Floods, wind, storms, all these things, these actions are called adhibhūta. All these are my expansion; this is my expanded nature everywhere.   Prayāṇa . . . (verse 30), the person, that person, those persons who understand me like that i.e. that, “this is the nature of God consciousness everywhere residing,” prayāṇakāle, in the end when they leave their bodies, māṁ te viduryuktacetasaḥ, they understand me. pralayāṇakāle ca . . . (comm. verse 30) At the time of death . . . nityaṁ bhagavadbhāvitāntaḥkaraṇatvāt . . . (because he has been adopting one-pointedness of God in his lifetime, if he is meditating, if he has been meditating during his lifetime continuously–that is what he says), then, in the end, when he leaves the body, when his consciousness has gone beyond control, beyond his control, at the time when he is in a coma state, he’ll be meditating inside; internally he’ll be meditating. If he meditates during his life period, he will be meditating in that coma state also, at the time when he is going to leave this body, at that time also he will be thinking of God, internally. This is very fine. Prayāṇakāle, at the time of death, nityaṁ bhagavad bhāvita antaḥ karaṇatvāt, because he has bhāvita antaḥ karaṇa, antaḥ karaṇa, his mind is focused in his lifetime towards God only, so, at the time of death also his mind will be focused to him. DENISE:  So the strongest impression in his mind. SWAMIJI:  Yes. māṁjānanti, So they understand me in the end. yato yeṣaṁ janmapūrvameva bhagavattattvaṁ; Because, janma pūrvameva bhagavat tattvaṁ, in the period of their lives, livelihood (livelihood–not), at the time of their living period, when they have adopted the nature of God, when they have meditated upon the nature of God in their living period . . . te ‘ntakāle parameśvaraṁ saṁsmareyuḥ  / . . . those persons will necessarily remember God at the time of death also. But on the contrary . . . ‘kiṁ janmāsevanayā’–iti ye manyante; teṣāṁ tūṣṇīṁbhāva eva śobhana iti śivam  //  (comm. not recited fully) . . . iti ye manyante, those who understand that, “kiṁ janmāsevanayā, why to worry to meditate in [your] lifetime, try to meditate at that very period, at the time of death . . . DENISE:  How can you? SWAMIJI:  . . . be, enjoying in this world for the time being, [and] at the time of death think of Lord!”–those persons who say like this, (this is what he, [Abhinavagupta] says), “kiṁ janmāsevanayā, you should not worry to meditate till the end,”–iti ye manyante; teṣāṁ tūṣṇīṁbhāva eva śobhana, for them I have nothing to say, I have nothing whatsoever to tell them. atra saṁgrahaślokaḥ The conclusion of this. sphuṭaṁ bhagavato bhaktirāhitā kalpamañjarī  /   (concl. Ch 7) The attachment of Lord Śiva, if it is developed day by day in your lifetime, āhitā kalpamañjarī, it becomes kalpamañjarī, it becomes that tree, bestower of all boons, that tree which is existing in heaven. DENISE:  Wish-fulfilling tree. SWAMIJI:  All your desires are fulfilled. sādhakecchāsamucitāṁ yenāśāṁ paripūrayet //  (concl. Ch 7) And samucitāṁ sādhaka icchāṁ, the icchā, the desire of sādhaka, desire of devotee’s of Lord Śiva is fulfilled by that bhakti, by that attachment of Lord. Bas! This is the ending [of this] chapter.

B) The nature of Liberation – Mokṣa (31–35) Now the thirty-first [śloka]: Audio 2 – 0:02 स्वतन्त्रात्मातिरिक्तस्तु तुच्छोऽतुच्छोऽपि कश्चन। न मोक्षो नाम तन्नास्य पृथङ्नामापि गृह्यते॥३१॥ svatantrātmātiriktastu tuccho’tuccho’pi kaścana / na mokṣo nāma tannāsya pṛthaṅnāmāpi gṛhyate //31// Now, he explains in this śloka, the thirty-first śloka, what is really liberation (mokṣa). Mokṣa, he explains, mokṣa is only svatantrātma, when your being becomes absolutely independent from all sides. That is mokṣa, that is liberation, then you are liberated. Without that absolute independence, whatever is existing in this world, if it is tuccha or if it is atuccha, if it is empty (worthless) or if it is worthy, . . . JOHN: Valuable. SWAMIJI: . . . whatever it is, that is not mokṣa. So, there is nothing separately explained as mokṣa except svatantrātma. The thirty-second [śloka]: Audio 2 – 01:23 यत्तु ज्ञेयसतत्त्वस्य पूर्णपूर्णप्रथात्मकम्। तदुत्तरोत्तरं ज्ञानं तत्तत्संसारशान्तिदम्॥३२॥ yattu jñeyasatattvasya pūrṇapūrṇaprathātmakam / taduttarottaraṁ jñānaṁ tattatsaṁsāraśāntidam //32// The essence that we have to perceive [of that which is] worth perceiving, that essence [of that] which is to be perceived (that is, Lord Śiva), and that perception, as long as it becomes full by-and-by, in succession, as much as it is full, you are near mokṣa. If it is not full, if it is incomplete, you are away from mokṣa. So, that [incomplete] fullness is differentiated fullness. For some masters of some other schools, they consider that full, but in other systems it is not, it is incomplete. So that complete fullness lies only in Shaivism, although they77 are liberated from that saṁsāra of their own (tattat saṁsāra śāntidam78). Now he explains the same in the thirty-third śloka: Audio 2 – 03:01  रागाद्यकलुषोऽस्म्यन्तःशून्योऽहं कर्तृतोज्झितः। इत्थं समासव्यासाभ्यां ज्ञानं मुञ्चति तावतः॥३३॥ rāgādyakaluṣo’smyantaḥśūnyo’haṁ kartṛtojjhitaḥ / itthaṁ samāsavyāsābhyāṁ jñānaṁ muñcati tāvataḥ //33// [not recited] Some masters of [other] schools say that, “rāgādi akuluṣo asmi,” the reality of the Self is [realized] when you are absolutely away from the bondage of rāga (attachment), kāma (desire), krodha (wrath), etcetera (rāgādi akaluṣo asmi). SCHOLAR: Free of kleśāvaraṇa–the Yogācāras.79 SWAMIJI: Yes, it is for Yogācāras. Another school of thought explains that the reality of the Self is just to become deprived or away from all substances. When you are an absolute void, [when] you become an absolute void, you are free. Absolute voidness is freedom. SCHOLAR: Śūnya svabhāvako’ham. SWAMIJI: Yes, śūnya svabhāvako’ham. JOHN: Which school is this? SCHOLAR: Mādhyamikā.80 SWAMIJI: Mādhyamikā. And another school explains that the reality of the Self is when the Self becomes absolutely away from kartṛ bhāva (action). JOHN: This would be Sāṁkhya? SWAMIJI: It is Sāṁkhya.81 SCHOLAR: And Patañjali yoga. SWAMIJI: Patañjali yoga also.82 So this way (itthaṁ), samāsavyāsābhyāṁ jñānaṁ, this knowledge, this perception, relieves them from that bondage of their own, collectively83 or separately.84 Some become aware and that jñāna (knowledge) removes the bondage of those people collectively, . . . SCHOLAR: Up to that point. SWAMIJI: Up to that point.85 . . . and to some, one-by-one (vyāsābhyām). SCHOLAR: What does that mean? SWAMIJI: That means, some people are freed from māyīyamala, some people are freed from kārmamala, and some are freed from all these malas. Those who are freed from all these malas, it is samāsena.86 SCHOLAR: But none of these three are freed completely. SWAMIJI: They are not freed completely. SCHOLAR: So, how can he say “samāsa” in that sense? SWAMIJI: From their point of view, [it is] samāsa [totality]. JOHN: And, at the same time, is it possible to be liberated from, say, māyīyamala and not from kārmamala? SWAMIJI: If there is māyīyamala, there is kārmamala also. SCHOLAR: Ārāṅkurakāraṇam.87 SWAMIJI: Yes. JOHN: So, it goes in . . . it’s successive. SWAMIJI: Successive, yes, these two malas. Āṇavamala is the most subtle mala. SCHOLAR: So, vyāsa88 would be just from āṇavamala. SWAMIJI: Āṇavamala. SCHOLAR: Just from that. SWAMIJI: Yes. SCHOLAR: Or from māyīyadmalad aṁśāṁśikāya.89 SWAMIJI: Aṁśāṁśikāya. SCHOLAR: That would be vyāsa. SWAMIJI: Yes. The thirty-fourth [śloka]: Audio 2 – 06:21 तस्मान्मुक्तोऽप्यवच्छेदादवच्छेदान्तरस्थितेः। अमुक्त एव मुक्तस्तु सर्वावच्छेदवर्जितः॥३४॥ tasmānmukto’pyavacchedādavacchedāntarasthiteḥ / amukta eva muktastu sarvāvacchedavarjitaḥ //34//  [not recited] Tasmāt mukto’pyavacchedāt. So, although he is liberated from these bondages, but another class of bondages appears to him on his way, on his path. So, from that point of view, he is not liberated at all. The really liberated person is that person who is liberated from these malas from all sides. So, next, the thirty-fifth śloka: Audio 2 – 07:07 यत्तु ज्ञेयसतत्त्वस्य ज्ञानं सर्वात्मनोज्झितम्। अवच्छेदैर्न तत्कुत्राप्यज्ञानं सत्यमुक्तिदम्॥३५॥ yattu jñeyasatattvasya jñānaṁ sarvātmanojjhitam / avacchedairna tatkutrāpyajñānaṁ satyamuktidam //35// [not recited] The perception of that worthy-[to-be]-known object, Śiva (jñeyasatattvasya), that perception, when it is sarvātmanā ujjhitam avaccheda, when it is absolutely away, absolutely away from all bondages, that kind of perception is nowhere [non]-perception [of the undifferentiated Self], nowhere ignorance, and it gives you the real liberation (satya muktidam), and that is the Shaivite liberation.

“That person who understand this way–what is puruṣa, what is prakṛti, and what is all these three dishes [the three guṇas**], no matter if he becomes the enjoyer of these three dishes, he will never come in this world. He will never be entangled in this field of repeated births and deaths. He’ll become jivan mukta.” And that is catur daśa vidhaḥ sargaḥ, in this creation you get fourteen-fold creations [see footnote]. You know fourteen-fold creations? Fourteen-fold creation is . . . aṣṭa vikalpodaivya  tariyat yonaśca pañcadā bhavatīmanuṣaścaika vidhā samā sato bhāvatika sarga (quote from Samkhyā) This Sāmkhyā admits that this creation of this world is fourteen-fold. Creation of this world is fourteen-fold. Aṣṭa vikalpo daiva, devas, gods are created in six classes . . . eight classes: kinara, asura, rākṣasa, deva, etc, . . . all these. I’ll write down these classes*. ERNIE:  Eight classes of gods. SWAMIJI:  Eight classes of gods are created. This is eight–aṣṭa vikalpodaiva. Taryat yonaśca pañcada bhavati, and the animals are created five-fold, taryakyonaśca panchada bhavati. ERNIE:  Fish, bird . . . SWAMIJI:  That I will tell you tomorrow. . . . snakes. ERNIE:  Bugs? SWAMIJI:  All these. DEVOTEE:  Insects? SWAMIJI:  Yes. Manuṣaścaika vidhaḥ, and the individuals, the manuṣya, human being, is created in one class. So these are fourteen classes of creation of prakṛti. That is, caturdaśi vidaḥ sarga, fourteen-fold creation. And puruṣa, all these fourteen-fold creation and puruṣa, is anādi nityaṁca it is eternal and without beginning. brahmatattvācchuritatve sati tadananyatvāt // (end of comm. verse 23) Because it is soaked with the supreme consciousness. It is soaked with supreme consciousness; all this creation is soaked with supreme consciousness. — This is Śaivism. — Because, tadananyatvāt, it can’t be away from brahma tattvā, it can’t be away from God consciousness.  ya evaṁ vetti puruṣaṁ prakṛtiṁ ca guṇaiḥ saha  / sarvathā vartamāno’pi na sa bhūyo’bhijāyate  //24// That person who understand this way–what is puruṣa, what is prakṛti, and what are these three dishes [the three guṇas*], sarvathā vartamāno’pi, no matter if he enjoys, if he becomes the enjoyer of these three dishes, he will never come in this world. He will never be entangled in this field of repeated births and deaths. He’ll become jivan mukta.  evam – anena sarvābhedarūpeṇa brahmadarśanena (comm.) When he finds and realized that this whole universe is one with God consciousness .  .  . yo yogī (prakṛtiṁ, puruṣaṁ guṇāṁśca tadvikārān jānāti  / ) . . . that yogī who understands prakṛti, puruṣa, and these three dishes . . . sarveṇa prakāreṇ yathātthābartamāno ‘pi, sa mukta evetyarthaḥ  // . . . no matter if he enjoys, if he gets entangled in enjoyment of these three dishes, sa mukta eva, he is liberated, he is always liberated. This is Śaivism! _______ *The eight classes of gods: Brahma, prajāpati, saumya, aindra, gandharva, yakṣa, rākṣasa, piśāca. Fourteen-fold creation… Eight sections of devas are: Brahmas are bent upon reciting mantras of Vedas, and experiencing the secret points of śāstras. Prajāpatis section is just for heavenly sex. Saumyas are bent upon beautifying everything. Aindris are those classes of devas who just want to govern and rule. Indra is from that class. Gandharvas are bent upon divine music. Yakṣas are bent upon worshipping, rituals etc. They want to do pūjā, and worship Rākṣasas crave for sex. They want to loot some girl and have sex with her. Piśācas like collecting too much wealth. They don’t spend so much as they collect. Manuśya is only one, that is human beings. Paśus, beasts are five-fold: 1) four-legged domestic animals; 2) four-legged wild animals; 3) birds; 4) snakes, fish and crawling animals, insects and bugs; 5) plants and minerals. (See: Tantrāloka 9.88. **the three guṇas are sattva (purity), rajas (activity) and tamas (inertia).

अभिलाषाद्बहिर्गतिः संवाह्यस्य ॥४०॥   abhilāṣādbahirgatiḥ saṁvāhyasya  // 40 //   “. . . by that desire to fulfill his nature of being, he feels there is a gap, it must be filled, and by that desire bahir gatiḥ, his flow and his movement move towards the objective world and not towards the subjective consciousness. Thus, he is carried from one birth to another birth, from one death to another death; he is carried just like a beast.”   Carried by whom? Carried by those energies which have been established, or governed, by the supreme wheel of the energies of God. And those are: Kañcukas – six coverings, kalā, vidyā, rāga, kāla, niyati and māyā; Antaḥkaraṇas – mind, intellect, and ego; Bahiṣkaraṇas – organs of actions and organs of senses; and five . . . Tanmātras – śabda, sparśa, rūpa, rasa, and gandha. And by these he is being carried, from one state to another state, from one life to another life; from one womb he is carried to another womb by and by, thus, he is being carried, he is not the carrier. In brief, he is paśu, just like a ‘beast’, dependent upon his past and future actions. Hence, desire is the mala, desire is the dot, impurity. And that is āṇavamala, which has appeared by perceiving one’s own Self as incomplete. When you perceive yourself as incomplete, that is avidyā, that is ignorance, and that ignorance is āṇavamala. And by that āṇavamala, desire rises in you, and by that desire, bahir gati, you are carried in the outside world, not the internal world of spirituality. Hence, your consciousness is diverted towards worldly pleasures. Kālikākrama Śāstra also says the same thing. “When that ignorance covers that Self by the way of treading on vikalpas [thoughts, impressions], then, he cannot perceive this whole universe beginning from earth to Śiva as one with God consciousness. He does not perceive like that. He perceives differentiatedly, in a differentiated manner.” Then what is the fruit of that? He becomes the object of good and bad. And by becoming the object of good and bad, he experiences in his own nature only pain, and pleasure also [which] he experiences as pain.   When, on the contrary the grace of Lord Śiva is infused in his consciousness – pārameśa śaktipāta vaśa unmiṣitam – and by that infusion when he contemplates and realizes his own nature in the true sense, then he destroys all desires in himself, and he does not move towards the outside world, on the contrary, he is always centered in his own God consciousness. That is what he explains in this next śloka. तदारूढप्रमितेस्तत्क्षयाज्जीव संक्षयः ॥४१॥   tadārūḍhapramitestatkṣayājjīva saṁkṣayaḥ  // 41 //   “That fortunate person whose consciousness is established in his own real nature, all desires vanish in him, so the state of being an individual is finished.” As previously, in previous sūtras, we have explained, that state of turya which is only the state of knower, not known or knowledge – only knower, the state of knower – when, the yogi whose consciousness is established, and fully aware in that supreme God consciousness, then, that desire which seemed to be existing there, that desire vanishes, and jīva bhāva, ‘individuality’ is finished. Then, that state of being aware that, “I am puryaṣṭaka, I am the body, I am organs, I am the mind, intellect and ego,” that state is over. That means, it is appeased, it is śānta. On the contrary, his consciousness shines in cit, in his own nature. In Kālikākrama it is said: “When one is experiencing the dreaming state and he perceives so many dreams, various dreams, various ways of the world of dreams, when he gets out of it, when he enters in wakefulness, then all of those dreams vanish altogether, no dream is existing at all.” In the same way, when a fortunate yogi puts awareness in this way on this objective world of the universe, “that this universe is not the objective world, it is only subjective consciousness, nothing else,” and the more he puts awareness on subjective consciousness, he becomes one with subjective consciousness. So, this imagination also becomes true for him. By and by, by and by, you put your awareness in this imagination that – “this whole universe is nothing but my own Self-nature” – go on meditating on it in continuation and a time will come when you will become one with that God consciousness. That person who is established in his own nature always (nityam), and who is bent upon destroying the sphere of time, he wants to destroy the sphere of time by putting consciousness on the timeless point; and the timeless point is found between two breaths, the timeless point is found between one step and another step, one talk and another talk, one word and another word; in between there is the timeless point. When your consciousness is bent upon finding out that point, then you are said to be kāla grāsa-tatpara, you are bent upon destroying the sphere of time. So, in the near future, there will be no time existing for you. So that yogi is established in that final beatitude of God consciousness, and he achieves that state of nirvāṇa, mokṣa – final liberation. But the question is here: when in this way his individuality is destroyed, individuality is dissolved, he must leave the physical body at that very moment, as soon as that individuality is finished. So how can he say that he is established in God consciousness? So this theory of yours is incorrect! For that, he puts now the answer. भूतकञ्चुकी तदा विमुक्तो भूयः पतिसमः परः ॥४२॥   bhūtakañcukī tadā vimukto bhūyaḥ patisamaḥ paraḥ // 42 //   “He is said to be bhūta kañcukī, these five elements are just like covering for him, and at that moment he is vimukta, ‘absolutely liberated’, and he is patisama, ‘just like Lord Śiva’, and supreme.” And in the course of time when he leaves this physical frame also, he becomes one with Lord Śiva. So, for him, this physical frame is just like a blanket, just like some covering. Not like us, just as we do for our physical body, we insert I-consciousness that, “this is my body, this is me.” I go to some doctor, “Please see my pulse.” But I have no pulse! In fact, if you go into the true sense, I have no pulse – pulse is for the body. I say to the doctor, “See my pulse, I don’t feel well.” But the body is unwell, I am always the same. So this previous sūtra (3.26), in which we have explained, his body is just like that sheath in which we put a sword, like that his body exists. But he does not infuse his I-consciousness in that sheath, i.e., sword is sword and sheath is sheath, separate from it. Hence, when a supreme master reveals to you that supreme [state], from that very moment he is said to be liberated, absolutely liberated, and his remaining portion of his life is just like a yantra, just like a machine. So he is centralized in his God consciousness for eternity afterwards, and his existence of body is just like a machine, nothing else. So, what can we say to that wise person who is established in that supreme brahman only for one second; he becomes liberated, and he liberates the whole universe. In the Netra Tantra also it is said: If one realizes the state of supreme God consciousness only for a fraction of time of – nimeṣa unmeṣa – one twinkling, (i.e., eyes open and shut, that is twinkling), only in that fraction of time if you realize that real state of God consciousness, from that very moment he is said to be liberated, absolutely liberated, he is not to come in this world again. In Kulasāra Śastra also it is said: “O dear Devi, (Sundari, O beautiful Goddess, Devi), it is a wonder how great is the glory and greatness of that real nature of God consciousness. If that real nature of God consciousness travels from one ear to another ear – in sound only, not in actual existence – if that word only travels, that word will absolutely liberate him there and then. This is the greatness of that supreme state of God consciousness.”

ध्यायतो विषयान्पुंसः सङ्गस्तेषूपजायते  । सङ्गात्संजायते कामः कामात्क्रोधोऽभिजायते  ॥६४॥ क्रोधाद्भवति संमोहः संमोहात्स्मृतिविभ्रमः  । स्मृतिभ्रंशाट्बुद्धिनाशो बुद्धिनाशात्प्रणश्यति  ॥६५॥ dhyāyato viṣayānpumsaḥ saṅgasteṣūpajāyate / saṅgātsañjāyate kāmaḥ kāmātkrodho ’bhijāyate //64// krodhādbhavati sammohaḥ sammohātsmṛtivibhramaḥ / smṛtibhramśāṭbuddhināśo buddhināśātpraṇaśyati //65//   Anybody who is thinking of . . . one who is meditating upon God consciousness, [he goes] on meditating, meditating, and at the same time he thinks, “this meditation of God consciousness is very sweet.” And this is one thought, this is temptation; temptation is there, it is māyā. And this thought focuses him to things other than Parabhairava. And afterwards, [the mind] goes [to another similar thought]; this [initial] saṁskāra (impression) gives move to another saṁskāra, and another saṁskāra, and he is on the inferior plane of the world. JOHN: The saṁskāra that, “this meditation is sweet”? SWAMIJI: Not meditation. He is dragged away from God consciousness by and by – this is māyā! You must be so alert and so . . . you can’t remain idle. Meditation you have to do with vigor, with alertness. If alertness is a bit lessened, [awareness is] gone! It will carry you to the ordinary course of Being. You become just like dogs in the street. There is no God consciousness. So this is a trick. This is a trick when there is śaktipāta. When there is śaktipāta (grace), you become focused. Kṣiptam, mūdham, vikṣiptam, ekāgram, niruddham – these are the states of mind. The states of mind are five: kṣipta, vikṣipta, mūdha, ekāgra, niruddha. Kṣipta is for yogi – these [states of mind] are for yogis – kṣipta is: “om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya . . . I had been there, I will go to some other shop tomorrow . . . “om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya . . . O Denise is a very good disciple of mine . . . “om namaḥ śivāya, om namaḥ śiv̄āya, om namaḥ śivāya.” Like that, he is dragged [away from one-pointed-ness]. It is called kṣipta; this is the nature of kṣipta. This is the first yoga, the first start of yoga. At that time [when these intervening thoughts arise], you should not allow [your mind] to think other things that are similar to these. It may be similar. Do you know “similar”? And there is another [stage of yoga]: vikṣiptam. Vikṣiptam is: “om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya . . . (what are you doing?) “om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya . . . I have to go there, no! . . . “om namaḥ śivāya, om namaḥ śivāya.” Just at once you . . . JONATHAN: Become aware. SWAMIJI: No sooner has it taken a step outside, you . . . JONATHAN: You pull it back. SWAMIJI: . . . you pull it back at once. That is vikṣiptam. If you do it like this, then there is the third state, that ekāgra. Ekāgra is: “om namaḥ śivāya, om namaḥ śivāya . . . “om namaḥ śivāya, om namaḥ śivāya . . . “om namaḥ śivāya . . . and go on [reciting], “om namaḥ śivāya, and [yawning] . . . “om namaḥ śivāya, om namaḥ śivāya . . . “om namaḥ śivāya, [scratching], “om namaḥ śivāya, om namaḥ śivāya, om namaḥ śivāya.” This is ekāgra. But these things happen. These things, they destroy your one-pointedness. Then it is nirūddha. At once [you recite]: “om namaḥ śivāya, om namaḥ śivāya . . .  “om namaḥ śivāya, om namaḥ śivāya . . . “om namaḥ śivāya, om namaḥ śivāya . . .” Then it goes on in one chain. [Lord Kṛṣṇa] says in that [śloka]: yatroparamate cittaṁ niruddhaṁ yogasevanāt / yatra caivātmanātmānaṁ paśyannātmani tuṣyati // BG 6.21   [Lord Kṛṣṇa]: Yatroparamate cittaṁ niruddhaṁ yogasevanāt. At that time when, by yogābhyāsa, [the yogi] reaches the state of niruddha, the fifth state of yoga – what happens then? Yatra caivātmanātmānaṁ paśyannātmani tuṣyati, where he realizes his own nature and he is enjoying the super-consciousness of that nature. sukhamātyantikaṁ yattadbuddhigrāhyamatīndriyam / vetti yatra na caivāyaṁ sthitaścalati tattvataḥ // BG 6.22   Sukhamātyantikaṁ yattad [BG 6.22], and the glamour of that sukham (sukham means godly . . . JOHN: Pleasure. SWAMIJI: Not pleasure, you can’t say pleasure. JOHN: Super-pleasure? SWAMIJI: Yes. . . . buddhigrahyam, it is buddhigrāhyam. You can only calculate it with intellect, not with the body. Atīndriyam, it is beyond, that sukha [joy] is beyond the cycle of organs. Organs cannot experience that ānanda (that bliss). And once he is established in that, na calati tattvataḥ, he is not moved at all; for one second also, he is not moved from that [bliss]. JONATHAN: But to achieve that state you have to have that śaktipāta, isn’t it? SWAMIJI: Śaktipāta means you have to maintain your vigor, you have to maintain your will. There must be firm will. That is śaktipāta. Śaktipāta is not derived from other sources. You have got śaktipāta, you have got the power of śaktipāta, i.e., to have it. You [must] possess it with vigor, with force, because you have got that power. But you don’t like it [laughs]! You don’t like it and you go on meeting others and everything. DVD 2.3 (37:16) Now this is the 70th śloka finished. JONATHAN: Can I just ask one question? What causes that change? You said you possess that śaktipāta, that power, but you don’t like it, you just go to these other things. What makes that change, when you suddenly are not worried about these things and you dive into that? SWAMIJI: When śaktipāta comes from within. From within! Śaktipāta does not come from without. It is not [from] without. JONATHAN: It is there already. SWAMIJI: It is there. Because when God is united with limited God, [this is possible only because] limited God is not separate from unlimited God. End of Bhagavad Gita – Sangha 15 (54:04) __________ Now we move to verse 3 of Chapter 6, which is the chapter where Lord Krishna teaches Arjuna the formal practice of Meditation. In verse 3 Swamiji emphasizes the value of Meditation in action. Bhagavad Gita – Sangha 44 (44:17) DVD 6.1 (10:28) आरुरुक्षोर्मुनेर्योगं कर्म कारणमुच्यते  । योगारूढस्य तस्यैव शमः कारणमुच्यते  ॥३॥ ārurukṣormuneryogaṁ karma kāraṇamucyate / yogārūḍhasya tasyaiva śamaḥ kāraṇamucyate //3//   Ārurukṣormuner. Munir, that yogi who is ārurukṣoḥ, who wants to rise step by step; who wants to rise step by step and meditates by successive meditation. Successive meditation does not mean that you meditate one hour in the morning, one hour in the evening – no, it is not that. [You should] go on meditating day and night. Don’t forget your meditation of thinking of the Lord with breath. Go on watching your breath, day and night. Try with all your might to watch it. If sometime you miss [a breath], that doesn’t matter, but it does not mean that you meditate only one hour in the morning and one hour in the evening, and in the remaining period you will do activities [such as] gupshup (idle conversation) and bakwas (nonsense) and everything. Because that impression [of worldly activity] will be stronger, that impression will subside your abhyāsa (practice). Do you understand? So you should not work in that way. Abhyāsa is to start [watching your breath] just like in chain form [i.e., continuously]. Try your best [to practice] that way. ārurukṣormuneryogaṁ karma kāraṇamucyate / yogārūḍhasya tasyaiva śamaḥ kāraṇamucyate //3//   Ārurukṣormuneryogaṁ. Yogam ārurukṣor muner, the one who is trying to reside in yoga abhyāsa, for how long [should he practice]? Day and night. According to his capacity, he should [practice] day and night. But the balance should be of abhyās, i.e., [abhyās should be] more in weight than the daily activities of your worldly affairs. Worldly affairs should be less in balance [in] scale. Worldly activities [should be much] less, just four anas (16 cents) in one rupee, even two annas (8 cents) in one rupee. The [remaining] period of your time must be devoted to abhyāsa, to meditation. That is yogam ārurukṣor muni, one who wants to rise in yoga, who wants to step into yoga. Karma kāraṇam ucyate. Karma kāraṇam ucyate, karma, abhyāsa in action. You should not sit idle, you should go on walking [etc., while] practicing yoga. And it is kāraṇam, these [worldly activities] are the means (upāyas) for him. Abhinavagupta has, in a unique way, translated in two ways kāraṇam and kāraṇam. There are in two places kāraṇ and kāraṇ. End Bhagavad Gita – Sangha 44 (49:02) ________________________ In this next excerpt from Chapter Five, Swamiji explains what happens in meditation when the breath becomes more and more refined. Bhagavad Gita – Sangha 42 (32:30) DVD 5.2 (32:04) स्पर्शान्कृत्वा बहिर्बाह्यांश्चक्षुश्चैवान्तरे भ्रुवोः  । प्राणापानौ समौ कृत्वा नासाभ्यन्तरचारिणौ  ॥२७॥ sparśānkṛtvā bahirbāhyāṁścakṣuścaivāntare bhruvoḥ / prāṇāpānau samau kṛtvā nāsābhyantaracāriṇau //27//   [Lord Kṛṣṇa]: Sparśān kṛtvā bahir bāhyāṁ. Bāhyāṁ sparśān bahi kṛtvā, those outside sensual objects, you should keep them outside. Cakṣu caivāntare bhruvoḥ, [your mind should be focused] in between the two eyebrows; you must feel the sensation inside, between two eyebrows. Prāṇāpānau samau kṛtvā, nāsā abhyantara cāriṇau, you should breathe out and breathe in, in samatā. Samatā means . . . No, this is very important. For instance, you breathe in and you breathe out. Not like [you normally do]. You have not to breathe in and out like that. You have to breathe in your own nāsa (inner consciousness). For instance, you have to breathe like this and this; only this much: [Swamiji demonstrates by showing the tiny distance between his thumb and index finger]. You have not to breathe [heavily] – not like this. You have to breathe very slowly, very slowly. [So] slowly that [you do] not breathe at all. It takes only [a small] space to breathe. Only this much. This is the reality of one-pointedness. JONATHAN: But Swamiji, when you do that though, sometimes in breathing, you don’t get enough breath; it feels like you’re not going to get enough . . . SWAMIJI: (laughs . . .) No, it is not suffocation. You will never become suffocated because it is life; it is life-full at that time. You know when in my courses I was not breathing. I was breathing like this [Swamiji demonstrates]. When I was out [of my courses], then I would [breathe heavily]. JONATHAN: Yes, suddenly you would breathe. SWAMIJI: Yes, that is outside. Inside is this [Swamiji demonstrates again], i.e., when you don’t breathe at all. You breathe only from here to here, bas! That is all. So there is no breath. It is only the glamour of madhya nāḍi, the ‘central vein’. You are residing in the central vein, suṣumnā nāḍi. It is in suṣumnā nāḍi. It goes in suṣumnā nāḍi and [breath] is finished. JONATHAN: But from a practical point of view, you were demonstrating that to me one day when you went to Harvan, and you stopped on the side of the road and you said, “the breath must only go this much.” But if a normal person sits down and makes their breath go like that, then they are short of breath, isn’t it? Or does that feeling go? SWAMIJI: No, shorter breath. JONATHAN: But there is that feeling that you need more breath. SWAMIJI: No, you don’t get urge for breathing. You don’t get urge for breathing. This is something different! JOHN: My experience is though when you try to be one-pointed on watching your breath and so forth . . . SWAMIJI: When it is one-pointed, then you don’t breathe. JOHN: Breathing slows down automatically. SWAMIJI: Not in so much space. JOHN: So it becomes less and less as you . . . SWAMIJI: Huh? JOHN: When you are breathing and you are becoming more one-pointed then your breathing becomes less and less. SWAMIJI: Less and less, less and less. And in the end, it breathes only this much. JOHN: But my problem is before I get to that point . . . SWAMIJI: If it comes down from here, it goes up to this, then it returns there. JOHN: My experience is, when I become more one-pointed and it becomes less and less and less, all of a sudden that panic comes and I go, “aaaaaaaahhhh,” I take that, like I’m not breathing, I get a shock that, “no, I’m not breathing and then I take a breath.” SWAMIJI: (laughs . . .) That is because you are not focused in that Parabhairava state. When once you are focused in the Parabhairava state then you won’t breathe because you are life-full. JOHN: So how do we get over that gap of that panic of not taking full breaths? SWAMIJI: Yes, in both ways it is divine. Both ways. If you breathe, that is also divine; if you don’t breathe, that is also divine. It is this [Swamiji demonstrates the short distance of the movement of breath]. I showed you. JONATHAN: You showed me that day. SWAMIJI: It is said, nāsābhyantaracāriṇa, only breath does not move out from nāsa, out from nāsika [between the eyebrows]. It moves only this much, this much [Swamiji demonstrates]. So there is no such breathing. You should not examine it. It is automatic. It will happen automatically some day when you are glorified with my grace. JOHN: What do you mean, Swamiji, when you say ”lengthen the breath and make it flow longer and longer?” When we were meditating, you said we should lengthen the breath, make it slower and longer – what does that mean? SWAMIJI: Lengthen? Lengthen, not. You should breathe very slowly. JONATHAN: You mean length of time and less in space. SWAMIJI: Less space. JONATHAN: And length in time. SWAMIJI: Yes. JONATHAN: So it should take longer to go even that little distance. SWAMIJI: Yes. JONATHAN: But you shouldn’t make your breath long. SWAMIJI: Long? No [laughs]. JONATHAN: That’s what I am saying. You shouldn’t do that! You should only do this much. But time should be longer . . . SWAMIJI: Yes. JONATHAN: . . . and space should be less. SWAMIJI: Yes. How wonderful! End Bhagavad Gita – Sangha 42 (38:56)

एवंविधे परे तत्त्वे कः पूज्यः कश्च तृप्यति ॥१६॥ evaṁvidhe pare tattve kaḥ pūjyaḥ kaśca tṛpyati // 16b // When you put this thing in your view, evaṁ vidhe, in this supreme essence of transcendental truth, who is to be worshiped and who is the worshiper? Kaḥ pūjyaḥ, who is to be worshiped? Kaśca tṛpyati, who is the worshiper? एवंविधा भैरवस्य यावस्था परिगीयते । सा परा, पररूपेण परादेवी प्रकीर्तिता ॥१७॥ evaṁvidhā bhairavasya yāvasthā parigīyate / sā parā pararūpeṇa parādevī prakīrtitā // 17 // This state of Bhairava that is already sung in the body of the Tantras, yāvasthā parigīyate (parigīyate, sung), that state is in Its supreme way (pararūpena), [and It] is the state of Bhairavī (parā devī). In other words, The real state of Bhairava is the state of Bhairavī. Whenever you explain, whenever you find out, what is the real state of Bhairava, you can’t find it out because the real state of Bhairava is, in fact, the real state of the knower. It can’t be found [because] It is the [finder]. The real state of Bhairava is the perceiver, It is not perceived. You can’t perceive that state. When It is perceived, when there is a desire in you to perceive It, you can perceive It [only] when It comes down in the state of Bhairavī. So that is the way. When you tread on the level of Pārvatī, then you are treading on the path. This is the journey we have to do, the journey we have to do in the field of Pārvatī, not in the field of Bhairava [where] there is no journey. He is the knower of everything, so It can’t be found, that state cannot be found. That state can only be found when It comes down one step lower at the state of Pārvatī. So, now, here we will describe one hundred and twelve ways to enter in the universal and transcendental state of consciousness. One hundred and twelve ways will be explained in this book, and those one hundred and twelve ways will reside only in the field of Pārvatī. It can’t reside in the field of Bhairava because Pārvatī is the way. This is what he puts down [as] the foundation stone for entering in the consciousness of the one hundred and twelve ways. Evaṁvidhā bhairavasya yāvasthā parigīyate, this state of Bhairava, which is sung in the Tantras, is really the supreme state of the Goddess, Pārvatī (sā parā pararūpeṇa, in Its supreme way is parā devī prakīrtitā). But is there any difference of supremacy? Is there a difference of supremeness between Lord Śiva and Pārvatī? This is what he explains now.   शक्तिशक्तिमतोर्यद्वत् अभेदः सर्वदा स्थितः । अतस्तद्धर्मधर्मित्वात् परा शक्तिः परात्मनः ॥१८॥   śaktiśaktimatoryadvat abhedaḥ sarvadā sthitaḥ / atastaddharmadharmitvāt parā śaktiḥ parātmanaḥ // 18 // Just as between energy and the holder of energy there is no differentiation at all to be found–always there is abheda, there is unity, unity between energy and the holder of energy (śakti and Śiva), there is no differentiated-ness–in the same way, tat dharma dharmitvāt (tat dharma means, all the aspects of Lord Śiva–tad dharma; tat means Lord Śiva, of Lord Śiva), all the aspects of Lord Śiva are held by Pārvatī Herself (tat dharma dharmitvāt). “Dharmi” is the holder of all aspects. Dharmi, who is dharmi? Pārvatī. Tat dharma, all the aspects of Lord Śiva are held by Pārvatī. So, parā śakti parātmanaḥ, that supreme energy is the energy of the supreme Lord. There is no difference in any case. न वह्नेर्दाहिका शक्तिः व्यतिरिक्ता विभाव्यते । केवलं ज्ञानसत्तायां प्रारम्भोऽयं प्रवेशने ॥१९॥   na vahnerdāhikā śaktiḥ vyatiriktā vibhāvyate / kevalaṁ jñānasattāyāṁ prārambho’yaṁ praveśane // 19 // Because, when there is a fire (for instance, there is a fire), its energy is dāhikā56, [and dāhikā’s] energy is pācikā57 [and] prakāśikā58. All these energies are owned by fire, but those energies–lightning, giving light, burning, heating, all these energies are produced from fire–but these energies are undifferentiated with fire. From fire, these energies are not different from fire. That is what he says: na vahner, from fire, dāhikā śakti, the energy of burning, burning energy, is not vyatiriktā (separated) vibhāvyate (found), it is not found that it is separated. Kevalaṁ jñāna sattāyāṁ prārambho’yaṁ praveśane, it is just to enter in that state of fire, i.e., to put a kettle on it or to put fuel on it (dāhikā, prakāśikā, and pācikā). It is just to enter in the state of fire, i.e., to put fuel and to put that kettle [on it]. So, [in the same way], it is just to enter in the jñāna sattā59 of Lord Śiva. You have to enter in the jñāna sattā of Lord Śiva, and [although] you are maintaining the nāvatma mantra and all these [processes], these are nothing. [They are] only prārambha, just to begin with.

“God is doing it! Focus your mind on me only!” ~Swami Lakshmanjoo   view on YouTube Mat cittaḥ sarva durgāṇi mat prasādāt tariṣyasi (58th śloka). Mat citta, when you focus your mind in Me, in Me the supreme Bhairava, sarva durgāṇi, all durg (durga means those mounts which are very difficult to climb up, very difficult to cross over), all of those difficult processes you’ll tariṣyasi, you will conquer.525 Atha cet, otherwise, if you ahaṁkāraṁ na mokṣyasi, if you still [think] in your mind that, “I am . . . I have to do this; I am doing this by the grace of God.” You should not [think] that, “I am doing this by the grace of Lord.” God is doing it! You should think like that. Ahaṁkāraṁ, if you put I, I-ness in that, vinaṅkṣyasi, you will be destroyed; you’ll be destroyed altogether, nothing will remain of you. And I will be so cruel to you at that time. Vinaṅkṣyasi, you will vanish altogether. You’ll be no more in this world. –––––– 525 “And when you have diverted your mind towards Me always, in each and every action of the world, sarva durgāṇi matprasādā, all your difficulty will vanish altogether by My grace, not by your action. By My grace, all your difficulties will be over, finished.” Bhagavad Gita audio, 1978 Lakshmanjoo Academy archive

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Song to Woody WRITTEN BY: BOB DYLAN I’m out here a thousand miles from my home Walkin’ a road other men have gone down I’m seein’ your world of people and things Your paupers and peasants and princes and kings Hey, hey, Woody Guthrie, I wrote you a song ’Bout a funny ol’ world that’s a-comin’ along Seems sick an’ it’s hungry, it’s tired an’ it’s torn It looks like it’s a-dyin’ an’ it’s hardly been born Hey, Woody Guthrie, but I know that you know All the things that I’m a-sayin’ an’ a-many times more I’m a-singin’ you the song, but I can’t sing enough ’Cause there’s not many men that done the things that you’ve done Here’s to Cisco an’ Sonny an’ Leadbelly too An’ to all the good people that traveled with you Here’s to the hearts and the hands of the men That come with the dust and are gone with the wind I’m a-leavin’ tomorrow, but I could leave today Somewhere down the road someday The very last thing that I’d want to do Is to say I’ve been hittin’ some hard travelin’ too

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Freight Train Blues WRITTEN BY: BOB DYLAN (ARR) I was born in Dixie in a boomer shed Just a little shanty by the railroad track Freight train was it taught me how to cry The holler of the driver was my lullaby I got the freight train blues Oh Lord mama, I got them in the bottom of my rambling shoes And when the whistle blows I gotta go baby, don't you know Well, it looks like I'm never gonna lose the freight train blues. Well, my daddy was a fireman and my mama-ha She was the only daugther of an enginer My sweetheart was a brakeman and it ain't no joke Seems a waste to get a good man broke I got the freight train blues Oh Lord mama, I got them in the bottom of my rambling shoes And when the whistle blows I gotta go mama, don't you know Well, it looks like I'm never gonna lose the freight train blues. Well, the only thing that makes me laugh again Is a southbound whistle on a southbound train Every place I wanna go I never can go Because you know I got the freight train blues Oh Lord mama, I got them in the bottom of my rambling shoes.

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Gospel Plow WRITTEN BY: BOB DYLAN (ARR) Mary wore three links of chain Every link was Jesus name Keep your hand on that plow, hold on Oh Lord, Oh Lord, keep your hand on that plow, hold on. Mary, Mark, Luke and John All these prophets so good and gone Keep your hand on that plow, hold on Oh Lord, Oh Lord, keep your hand on that plow, hold on.v Well, I never been to heaven But I've been told streets up there Are lined with gold Keep your hand on that plow, hold on Oh Lord, Oh Lord, keep your hand on that plow, hold on. Oh Lord, Oh Lord, keep your hand on that plow, hold on. Oh Lord, Oh Lord, keep your hand on that plow, hold on.

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Highway 51 Highway 51 runs right by my baby's door Highway 51 runs right by my baby's door If I don't get the girl I'm loving Won't go down to Highway 51 no more. Well, I know that highway like I know my hand Yes, I know that highway like I know the back of my hand Running from up Wisconsin way down to no man's land. Well, if I should die before my time should come And if I should die before my time should come Won't you bury my body out on the Highway 51. Highway 51 runs right by my baby's door I said, Highway 51 runs right by my baby's door If I don't get the girl I'm loving Won't go down to Highway 51 no more.

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Pretty Peggy-O WRITTEN BY: BOB DYLAN (ARR) I've been around this whole country But I never yet found Fenneario Well, as we marched down, as we marched down Well, as we marched down to Fennerio' Well, our captain fell in love with a lady like a dove Her name that she had was Pretty Peggy-O Well, what will your mother say, what will your mother say What will your mother say, Pretty Peggy-O What will your mother say to know you're going away You're never, never, never coming back-io ? Come a-running down your stairs Come a-running down your stairs Come a-running down your stairs, Pretty Peggy-O Come a-running down your stairs Combing back your yellow hair You're the prettiest darned girl I ever seen-io. The lieutenant he has gone The lieutenant he has gone The lieutenant he has gone, Pretty Peggy-O The lieutenant he has gone, long gone He's a-riding down in Texas with the rodeo. Well, our captain he is dead, our captain he is dead Our captain he is dead, Pretty Peggy-O Well, our captain he is dead, died for a maid He's buried somewhere in Louisiana-O.

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Man of Constant Sorrow WRITTEN BY: BOB DYLAN (ARR) I am a man of constant sorrow I've seen trouble all my days I'll say goodbye to Colorado Where I was born and partly raised Through this open world I'm a-bound to ramble Through ice and snow, sleet and rain Im a-bound to ride that mornin' railroad Perhaps I'll die upon that train Your mother says that I'm a stranger A face you'll never see no more But here's one promise to ya I'll see you on God's golden shore I'm a-goin' back to Colorado The place that I've started from If I'd knowed how bad you'd treat me Babe, I never would have come

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In My Time of Dyin’ WRITTEN BY: BOB DYLAN (ARR) Well, in my time of dying don't want nobody to mourn All I want for you to do is take my body home Well, well, well, so I can die easy Well, well, well Well, well, well, so I can die easy Jesus gonna make up, Jesus gonna make up Jesus gonna make up my dying bed Well, meet me Jesus, meet me, meet me in the middle of the air If these wings should fail to me Lord, won't you meet me with another pair Well, well, well, so I can die easy Well, well, well Well, well, well, so I can die easy Jesus gonna make up, Jesus gonna make up Jesus gonna make up my dying bed Lord, in my time of dying don't want nobody to cry All I want you to do is take me when I die Well, well, well, so I can die easy Well, well, well Well, well, well, so I can die easy Jesus gonna make up, Jesus gonna make up Jesus gonna make up my dying bed

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TOUR NEWS ALBUMS SONGS BOOKS ART STORE CENTER Talkin’ New York WRITTEN BY: BOB DYLAN Ramblin’ outa the wild West Leavin’ the towns I love the best Thought I’d seen some ups and downs ’Til I come into New York town People goin’ down to the ground Buildings goin’ up to the sky Wintertime in New York town The wind blowin’ snow around Walk around with nowhere to go Somebody could freeze right to the bone I froze right to the bone New York Times said it was the coldest winter in seventeen years I didn’t feel so cold then I swung onto my old guitar Grabbed hold of a subway car And after a rocking, reeling, rolling ride I landed up on the downtown side Greenwich Village I walked down there and ended up In one of them coffee-houses on the block Got on the stage to sing and play Man there said, “Come back some other day You sound like a hillbilly We want folk singers here” Well, I got a harmonica job, begun to play Blowin’ my lungs out for a dollar a day I blowed inside out and upside down The man there said he loved m’ sound He was ravin’ about how he loved m’ sound Dollar a day’s worth And after weeks and weeks of hangin’ around I finally got a job in New York town In a bigger place, bigger money too Even joined the union and paid m’ dues Now, a very great man once said That some people rob you with a fountain pen It didn’t take too long to find out Just what he was talkin’ about A lot of people don’t have much food on their table But they got a lot of forks ’n’ knives And they gotta cut somethin’ So one mornin’ when the sun was warm I rambled out of New York town Pulled my cap down over my eyes And headed out for the western skies So long, New York Howdy, East Orange

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LeValley: I’m Jason LeValley with Psychedelic Scene, and I’m here with George Bunnell. Did I say that correctly? Bunnell: You did. Exactly correct. All right. LeValley: Of Strawberry Alarm Clock. Thanks for being here, George. Bunnell: Thanks, Jason. Nice to meet you. LeValley: Nice to meet you, too. Let’s go back to the start. You played bass on the first r

Angie Moon: How did you get into rock music? Randy Seol: Just listening to the radio, I imagine. Steve Bartek: My older brother had Elvis Presley records that I would listen to when I was 5-6. It was there. It was a good counterbalance to the polkas that my parents would listen to. Actually playing in a rock band, I would have to attribute to my older brothe

Stars up in the sky Captured in my eye Shining light that's come From a million miles away The past in all its forms Has brought us to this place Our heart's a beating drum That transcends all time and space La-la-la Show me a way to your heart La-la-la Carry me back to your soul Please take me away Is it not okay? Don't know what I've seen Or is it just a d

It's raining live water It's raining free water Rain coming down through the trees It's born from the clouds Has that fresh memory It's raining free water It's raining live water It touches my face Feeling my love for you And our love's getting stronger, girl As we watch it pool Sweet melody, you're heavenly when you smile The sun breaks through And there's

"Me And The Township" Yeah, Lord, it's me again Now, I got the mis'ry so we're back again This time I'm down on my knees to pray But I think it's time Yeah, we got together and moved 'Cause me and the township We got the spice that makes life a groove Love, love Yeah, love Ha, yeah, peace and beautiful things I toss out the flowers, hear the bird that sings

"Off Ramp Road Tramp" Oh, yeah, don't you know? Well, I just can't decide, yes Whether I should walk away Or baby, take the ride, yes She looks good in her Morgan Ah, she pulls up alongside me With ring-like curls and homemade clothes And head all stuffed with pride, babe Oh yeah, she's the only one who knows Why insane people sometimes look suspicious Baby,

"Small Package" Mmm, there's a small package waitin' for me And I've got to decide if it's really for me You just can't call and say wrap it up Or want it at all unless you give it up Baby, what happens when you do Finally arrive? How am I to know that you're Really alive? And I gotta have you, oh Yeah In a small town I shouldn't have been in A small package

"Hog Child" Hog child bringin' myself down Hog child, there's one in every town No one seems to know why you're around Yeah You think you're wild, yes, you think you are Lard piled up inside your car Hide at the backstage, go grab yourself a star Teen time magazines, you have them all Pictures of them all you have up on your wall Oh yeah Oh, plaster casters

"Miss Attraction" Oh, hey Miss Attraction, butterflies Turnin' my stomach, but I think it's wise To choose your friends as you happen to see Hey, Miss Attraction, I hope it's me I saw your want ad: first come, first serve Hey, Miss Attraction, where did you get your nerve? Hey, Miss Attraction, who's your friend? Have her tell you 'bout last night again And

"Miss Attraction" Hey, Miss Attraction, butterflies Turnin' my stomach, and I think it's wise To choose your friends as you happen to see Hey, Miss Attraction, I hope it's me I saw your want ad: first come, first serve Hey, Miss Attraction, where did you get your nerve? Hey, Miss Attraction, who's your friend? Have her tell you 'bout last night again And whi

"Write Your Name In Gold" You have been the one I could confide in When troubles seem to find its path to me My sadness seem to lie somewhere within me 'Til you come on and push it out of me I can write your name in gold And place you high above The people that say we cannot be in love But then I ask myself this question Should I feel about you in this way?

"(You Put Me On) Standby" Girl, you put me on standby The message was as clear as could be Things didn't work out your way I wasn't what you thought I would be Now, we're playin' your new game Tag, you're runnin' away The rule is not to get caught Caught by me What are you thinkin', baby? What makes you tick? You put me on standby, baby Soon you'll hear a cl

"Dear Joy" Weeping like a fountain Over the days that I'm not countin' And all that's lost is the baby face that I once knew The music that I hear Keeps dancing in my ear The laughter's so soft, I see a patch of blue and it's you Whoa, she's just a queen style lover And I know she'll be under cover with me Start up the count of the very first one Dear Joy wi

"Changes" Yeah, yeah Changes you asked for Changes you'll get And while you're askin' At least try not to forget The moments we longed for Weren't ours to love for In the middle of the heat time You've come for the last time With me, yeah Changes are comin' and I look for some and I get what I want and Mmm, but not from you I'll find some deservin' Oh, beaut

"Desireé" When love is first made Like wind in the air And then starts to fade Oh, what did we share? We've had many dreams To pass on the day Oh, where is she now My Desireé? I'm standing alone Like a fool on a hill I'm empty inside And I feel a chill I wish I could cry And there'd be no more pain And if she came back I'd love her again A thousand to one It

"I Climbed The Mountain" I climbed the mountain I saw the other side And I can rest now For I am satisfied I saw a rich land Where each man had his share I saw a free land With freedom everywhere And there was peace in the valley There was hope in the land There was joy in the children There was love, beautiful love, in the heart of man I saw a schoolhouse W

"Three" Oh, I'm in trouble Can't you see me on the double? You know you better take three in the morning and three at night I'm gonna give you a little lovin' Make you feel all right Oh, I feel lonely What's it gonna be, my one and only? You know it's gotta be me in the morning and me at night I'm gonna give you a little lovin' Make you feel all right Three

"Starting Out The Day" Starting out the day such a beautiful way I don't have a worry and that's okay Finger-poppin' happy with a girl like you My eyes light up just to look at you Starting out the day with a smile on my face I stand up, look around, it's groovy every place Leg-slappin' lucky, girl, I'm glad we met Starting out the day with a love I get When

"California Day" Well, it's a California day, yeah, baby And it's a good-lookin' mornin' outside So don't be so down-hearted We'll make it here okay We'll make love in the sunshine On a California day, yeah, baby Well, it's daylight across the valley now, girl Yes, it's comin' through the roof and shinin' in your hair Girl, I know you're disappointed But don

"Sea Shell" We first met At the edge of an ocean Evening came Bringing new emotions In the empty sky, we saw a seagull Kneeling in the sand, we found a sea shell Hold it to your ear and hear the ocean Close your eyes, see waves and gentle motion A souvenir To last a lifetime A memory to somehow soothe the sad times When I'm alone Even now I can hear her laug

"Blues For A Young Girl Gone" Sing a song of sorrow For the young girl who's gone away She had to return to where she came from How I wish she would stay, even for one more day I only knew her a little while But I'll never forget the time When we stood on the bridge at the edge of the world And she asked what was on my mind Tell me what's on your mind And I

"An Angry Young Man" He was born on a Sunday In a one-room rent His daddy left on Monday Didn't leave them a cent So the mother blamed the child For messin' up her plans And now he's growing up an angry young man He got an education From out on the street He despised the wealthy And those who were weak 'Cause he was thrown into a world That he didn't underst

"Home Sweet Home" I can skip your light fantastic Loneliness is idle magic Life is hard to come by So I'll leave no turn unstoned Anyplace I hang my head Is home, sweet home Home, sweet home Happiness is hard to measure A touch of love, a pinch of pleasure Look in every window Leave no turn unstoned Anyplace I hang my head Is home, sweet home Home, sweet hom

"Lady Of The Lake" When I was a boy I knew the lady of the lake And I was her favorite child She wore a white gown her yellow hair hanging down And her voice like a shadow, was gentle and kind Everyday to the sea we would go hand in hand And build great white castles, civilizations in sand And I would paint her pictures with a seaweed brush And gather seashe

"Barefoot In Baltimore" Barefoot in Baltimore Heel and toe with you Summer turns the stove on And fun begins to cook Barefoot walks in Baltimore With empty pocketbook Laugh at sizzling sidewalks Don't step on the cracks Old folks try to catch their breath As children catch their jacks Barefoot in Baltimore Heel and toe with you Baltimore is music Dancing in

"Wooden Woman" Wooden woman by the gate Wonders if she is too late She tries so hard to make her date But a young man's love she will never receive Wooden woman by the wall Sadly she will then recall Of when she was so young, so small And she knew so much love, it was hard to believe She was so much in love, as she drank up their lies As she saw with both ea

"Heated Love" Heated love and summer sky Can give us a vibrant high When our hearts are warm and tight We'll cling together, never die Lazy days with things to do Giving me time to watch over you With dark-light hair and eyes of blue That's my crystalline view of you Our love so intense with the friction of living Knowing the spark of our life's togetherness

"Love Me Again" What you're doin' to me You just can't realize You say you could never love me But I see love in your eyes And I want to love you again, yeah Could you love me again? Alright You think so much of friendship But ran around so blind You say you couldn't leave this You couldn't leave your kind To let me love you again, yeah I want to love you ag

"Eulogy" I was too young to know different When I first fell in love with you And though you were in love with him I felt that you loved me too I used all of my little tricks To make sure that you noticed me I was sure that I had you fooled Yet you saw through my strategy As the days wandered into years Seems you still loved the both of us But our silence, m

"Nightmare Of Percussion" I sense the thumping Sounds in my ears My mind's exploding with every sound Beating percussion Vibrations increasing Bringing on tears Afraid, I ran to the population of noise Screaming and yelling with a sprint upon completion In thought of the quote "You can't win or lose, there's no more to choose" Said by the long-haired boys Do

"Soft Skies, No Lies" On a rainy day, let the children play All the games inside, come and take a ride We'll be on our way, I won't have to say Find a place to hide, on the countryside Where the soft skies, no lies Blue eyes, what lies? Now I'll have to tell you I think, I think maybe I love you When the sun is down, we can run around On a moonlit night, it'

"Tomorrow" Tomorrow Things won't be the same Tomorrow Life would be a different game But right now I am with you, and Together we can make it through Ba-ba-ba... Forever Our love might last Forever Will it come too fast But right now I am with you, and Together we can make it through Ba-ba-ba... We live in a world Of carnivals and clowns And buildings to the

"They Saw The Fat One Coming" They said they saw him in the morning But they just couldn't understand why he was crying He came upon them without warning And told them of the things he left behind him dying Why did he come to our fair city? Why did he say the things that only make us worried? He said it killed but showed no pity It came upon him like the dev

"Go Back (You're Going The Wrong Way)" Once a long time ago the populace did not know How to go about making love In circles they'd walk around and look mostly at the ground They didn't care what was above One couple started out, learned what it's all about At least there's two people happy Soon the rest all caught on, looked up and saw the dawn Now everyone

"Pretty Song From Psych-Out" I can see you, you can see me as we stand We can live forever, God and God is wonderful And your face, I've never seen it quite like this before Though the moon is out, the sun still shines You're beautiful You are on the run and of your problem, I'm aware In the silent world, you see the words I say to you I am lost in a poet's

"Sitting On A Star" Glittering silver of solitude In the darkest whisk of blue purple Just the enchantment of fulfilling your wish The wish you made to be there Just sitting on a star With clothes of laced velvet And a clear mind to think Not just five but a circle of points Extending transversely of their core Giving the glisten to your hair and eyes That s

"Black Butter, Past" I remember nights alone When streetlights' glow would fill the room Figures beat a native drum And played a song foretelling to Sing a song, try not to utter Words at night that say Black butter, ooh Look around the room you're in And pick out something you really need Take it in your hands and touch it If you strike it, will it bleed? A

"Black Butter, Present" Take a mirror from any room Hold it up until you see another person Standing When you see him, try to talk to him He will not answer Just cries the world, then just cries the whole world Oh, yes But you don't know where No, you don't know where, no Thrust it up, then down again Smash it! Oh, do it again Break it! Oh yeah Then destroy

"Black Butter, Future" Step outside, walk down the street And if there's something in your shoe Take it out and look it over Don't be surprised if it talks to you And if it dies, you'll hear the cries And know the meaning of black butter

"Birds In My Tree" Open the door, man Let all the good air come in Freshen the flowers, woman For there are no more sins in Hand me my bag, Frederick Stretch out your mind, feel good Utopia's at my doorstep Come, there is no more hatred Come live a better life All is what you strive for And now there are many birds in my tree Open your eyes to it First pleas

"Lose To Live" Two, three, four! To find peace of mind today You gotta search your thoughts in every way You gotta fight to live And lose to live You gotta hate to love Love to love You're looking hard and waiting for Someone to come through your front door, yeah Nobody comes Yeah All right Come on Ah, yeah There's just no use in trying anymore You'll never

"Strawberries Mean Love" Strawberries mean love What's it made of? Think you need love You can feel love You can find Strawberries' love there Life goes nowhere Why are you there? You cannot hide there What will you find there? You can find Strawberries' love there Time can't end soon Start before noon All but a balloon Cast up to the moon You can find Straw

"Rainy Day Mushroom Pillow" Rainy day mushroom pillow Colors green, brown and yellow Wonder if they'll turn black ever Contemplating one another Poison dreams Distorted dreams Mushroom dreams There's no place that can be better When you're up in clouds forever Pacify your mind with islands Colored snow and green field skies and Poison dreams Distorted dreams

"Paxton's Back Street Carnival" Get a pass, take a ride In the land that is high High above what you strive Where the dark never hides all the joy At the back street carnival Ferris wheels spinning 'round From the sky to the ground Where your mind's swirling down Caught within all the sounds of the joy At the back street carnival Your eyes are sparkling Your

"Hummin' Happy" Strollin' down the boulevard See the boys with lemonade stands See the couple in the car Getting busted There's Mrs. Fashion Lady She's just stepped into the street Can you see the open manhole? Where has gone Mrs. Fashion Lady? Yeah Can't you see I'm a sadist? Evil things make me laugh so I'm hummin' happy A little sparrow alive in the stree

"Incense And Peppermints" Good sense, innocence, cripplin' mankind Dead kings, many things I can't define Occasions, persuasions clutter your mind Incense and peppermints, the color of time Who cares what games we choose? Little to win, but nothin' to lose Incense and peppermints, meaningless nouns Turn on, tune in, turn your eyes around Look at yourself, lo

Fear is not love, dependence is not love, jealousy is not love, possessiveness and domination are not love, responsibility and duty are not love, self-pity is not love, the agony of not being loved is not love; love is not the opposite of hate any more than humility is the opposite of vanity. So if you can eliminate all these, not by forcing them but by wash

Evidence Library Entry

Evidence Type: Speech

Visibility: Public

Migrated from Web Observation #619

Source Title: Krishnamurti Topics • Krishnamurti Foundation Trust

Source URL: https://kfoundation.org/topics/

Domain: kfoundation.org

Captured: 2026-07-10 23:34:59

Analysis Source: selected_text

Classification Source: automatic

Source Handling: selected_excerpt

CPMI: detached-attachment · subjective · Mirror · Present · Individual

Evidence Text:
There must be the flame that cleanses the mind and the heart, making all things new. That flame is not of the mind, it is not a thing to be cultivated. The show of kindliness can be made to shine, but it is not the flame; the activity called service, though beneficial and necessary, is not love; the much-practised and disciplined tolerance, the cultivated co

"Soul Survivor"

When the waters is rough
The sailing is tough,
I'll get drowned in your love.
You've got a cut throat crew,
I'm gonna sink under you,
I got the bell bottom blues,
It's gonna be the death of me.
It's the graveyard watch,
Running right on the rocks,
I've taken all of the knocks.
You ain't giving me no quarter.
I'd rather drink sea water,
I wish I'd never had brought you,
It's gonna be the death of me.
Soul survivor, soul survivor.
Soul survivor, soul survivor.
Soul survivor, soul survivor.
Soul survivor, soul survivor,
Gonna be the death of me,
It's gonna be the death of me.
When you're flying your flags
All my confidence sags,
You got me packing my bags.
I'll stowaway at sea,
You make me mutiny,
Where you are I won't be,
You're gonna be the death of me.

"Shine A Light"

Saw you stretched out in Room Ten O Nine
With a smile on your face and a tear right in your eye
Oh, couldn't see to get a line on you
My sweet honey love

Berber jewelry jangling down the street
Making bloodshot eyes at every woman that you meet
Couldn't seem to get a high on you
My sweet honey love

May the good Lord shine a light on you
Make every song (you sing) your favorite tune
May the good Lord shine a light on you
Warm like the evening sun

When you're drunk in the alley, baby
With your clothes all torn
And your late night friends
Leave you in the cold gray dawn
Just seemed too many flies on you
I just can't brush them off

Angels beating all their wings in time
With smiles on their faces
And a gleam right in their eyes
Whoa, thought I heard one sigh for you
Come on up, come on up, now
Come on up, now

May the good Lord shine a light on you
Make every song you sing your favorite tune
May the good Lord shine a light on you
Warm like the evening sun

Come on up now, come on up now, come on up now, come on up, come on

May the good Lord shine a light on you
Make every song you sing your favorite tune
May the good Lord shine a light on you
Warm like the evening sun

"Stop Breaking Down"

Every time I'm walking all down the street
Some pretty mama start breaking down on me

Stop breaking down, baby, please, stop breaking down
Stuff is gonna bust your brains out, baby
Yeah, it's gonna make you lose your mind

You Saturday night women, now, you just ape and clown
You don't do nothing but tear my reputation down

Stop breaking down, mama, please, stop breaking down
Stuff is gonna bust your brains out, baby
Yeah, it's gonna make you lose your mind

Alright
Alright

I love my baby ninety nine degrees
But that mama got a pistol, laid it down on me

Stop breaking down, baby, please, stop breaking down
Stuff is gonna bust your brains out, baby
Yeah, it's gonna make you lose your mind

Every time I'm walking all down the street
Some pretty woman start breaking down on me

Stop breaking down, mama, please, stop breaking down
Shit is gonna bust your brains out, baby
I'm telling
It's gonna make you lose your mind

One more time

"All Down The Line"

Yeah, heard the diesel drumming all down the line
Oh, heard the wires a humming all down the line
Yeah, hear the women sighing all down the line
Oh, hear the children crying all down the line

(All down the line)
We'll be watching out for trouble, yeah
(All down the line)
And we'd better keep the motor running, yeah
(All down the line)
Well, you can't say yes and you can't say no
Just be right there when the whistle blows
I need a sanctified girl with a sanctified mind to help me now

Yeah, all the people singing all down the line
Mmmm, watch the men all working, working, yeah. (All down the line)

(All down the line)
We're gonna open up the throttle yeah
(All down the line)
We're gonna bust another bottle, yeah
(All down the line)
I need a shot of salvation, baby, once in a while
Hear the whistle blowing, hear it for a thousand miles

(All down the line)
We're gonna open up the throttle, yeah
(All down the line)
We're gonna bust another bottle, yeah
Well you can't say yes, and you can't say no
Just be right there when the whistle blows
I need a sanctified mind to help me out right now

Be my little baby for a while
Won't you be my little baby for a while?
Won't you be my little baby for a while?
Won't you be my little baby for a while?

"Let It Loose"

Who's that woman on your arm
All dressed up to do you harm?
And I'm hip to what she'll do
Give her just about a month or two

Bit off more than I can chew
And I knew yeah I know what it was leading to
Some things, well, I can't refuse (I can't refuse)
One of them, one of them the bedroom blues

She delivers right on time
I can't resist a corny line
(Can't resist)
But take the shine right off your shoes
Yeah right off your shoes
Carryin', carryin' the bedroom blues

In the bar you're getting drunk
Ain't in love, ain't in luck
Whoa no no no
Hide the switch and shut the light
Won't you shut it
Let it all come down tonight

Maybe your friends think I'm just a stranger
Some face I'll never see no more, no more
Let it all come down tonight
Won't you let it, yeah

Keep those tears hid out of sight, let it loose, let it all come down

Let it loose, let it all come down
Let it loose, let it all come down
Let it loose, let it all come down
Let it loose, let it all come down

Let it loose, let it all come down
Let it loose, let it all come down
Let it loose, let it all come down

Let it loose, let it all come down
Let it loose, let it all come down
Let it loose, let it all come down
Let it loose, let it all come down

Let it loose, let it all come down
Let it loose, let it all come down
Let it loose, let it all come down
Let it loose, let it all come down

Let it loose, let it all come down

"I Just Want To See His Face"

That's all right, that's all right, that's all right

Sometimes you feel like trouble, sometimes you feel down
Let this music relax your mind, let this music relax your mind

Stand up and be counted, can't get a witness
Sometimes you need somebody, if you have somebody to love
Sometimes you ain't got nobody and you want somebody to love

Then you don't want to walk and talk about Jesus
You just want to see His face
You don't want to walk and talk about Jesus
You just want to see His face
Just want to see His face
Just want to see His face
Just want to see His face

"Ventilator Blues"

When your spine is cracking and your hands, they shake
Heart is bursting and your butt's gonna break
Woman's cussing, you can hear her scream
Feel like murder in the first degree

Ain't nobody slowing down no way
Everybody's stepping on their accelerator
(It's alright)
Don't matter where you are
Everybody's gonna need a ventilator

When you're trapped and circled with no second chances
Code of living is your gun in hand
Can't be browed by beating, can't be cowed by words
Messed by cheating, ain't gonna ever learn

Everybody walking 'round
Everybody trying to step on their Creator

Don't matter where you are, everybody, everybody gonna
Need some kind of ventilator, some kind of ventilator

Come down and get it

What you gonna do about it, what you gonna do?
What you gonna do about it, what you gonna do?
Gonna fight it, gonna fight it?
Gonna fight it, gonna fight it?
Gonna fight it, gonna fight it?
Gonna fight it, gonna fight it?
Gonna fight it, gonna fight it?
Gonna fight it, gonna fight it?
Gonna fight it, gonna fight it?

"Turd On The Run"

Grabbed hold of your coat tail but it come off in my hand
I reached for your lapel but it weren't sewn on so grand
Begged, promised anything if only you would stay
Well, I lost a lot of love over you

That's right

Fell down to my knees and I hung onto your pants
But you just kept on runnin' while they ripped off in my hands
Diamond rings, Vaseline, you give me disease
Well, I lost a lot of love over you

Oh, baby, that's alright

I boogied in the ballroom, I boogied in the dark
Tie your hands, tie your feet, throw you to the sharks
Make you sweat, make you scream, make you wish you'd never been
I lost a lot of love over you

Ow I did

"Happy"

Well I never kept a dollar past sunset
It always burned a hole in my pants
Never made a school mama happy
Never blew a second chance, oh no

I need a love to keep me happy
I need a love to keep me happy
Baby, baby keep me happy
Baby, baby keep me happy

Always took candy from strangers
Didn't wanna get me no trade
Never want to be like papa
Working for the boss ev'ry night and day

I need a love to keep me happy
I need a love, baby, won't ya keep me happy
Baby, won't ya keep me happy
Baby, please keep me

I need a love to keep me happy
I need a love to keep me happy
Baby, baby keep me happy
Baby

Never got a flash out of cocktails
When I got some flesh off the bone
Never got a lift out of Lear jets
When I can fly way back home

I need a love to keep me happy
I need a love to keep me happy
Baby, baby keep me happy
Baby, baby keep me happy
Baby

Happy, baby won't you keep me
Happy, baby won't you keep me
Happy, baby won't you keep me
Happy, baby won't you keep me
Happy, baby won't you keep me
Happy, oh, keep on, baby, keep me
Happy, now baby won't you squeeze me
Happy, oh, baby got to feel it
Happy, now, now, now, now, now keep me
Happy, my, my, my, keep me
Happy, keep on baby, keep me
Happy, keep on baby, got to
Happy, my, my, baby keep me happy

"Loving Cup"

I'm the man on the mountain, come on up
I'm the plowman in the valley with a face full of mud
Yes, I'm fumbling and I know my car don't start
Yes, I'm stumbling and I know I play a bad guitar

Give me little drink from your loving cup
Just one drink and I'll fall down drunk

I'm the man who walks the hillside in the sweet summer sun
I'm the man that brings you roses when you ain't got none
Well I can run and jump and fish, but I won't fight
You if you want to push and pull with me all night

Give me little drink from your loving cup
Just one drink and I'll fall down drunk

I feel so humble with you tonight
Just sitting in front of the fire
See your face dancing in the flame
Feel your mouth kissing me again
What a beautiful buzz, what a beautiful buzz
What a beautiful buzz, what a beautiful buzz

Oh, what a beautiful buzz, what a beautiful buzz

Yes, I am nitty gritty and my shirt's all torn
But I would love to spill the beans with you till dawn

Give me little drink from your loving cup
Just one drink and I'll fall down drunk

"Sweet Black Angel"

Got a sweet black angel
Got a pin up girl
Got a sweet black angel
Up upon my wall

Well, she ain't no singer
And she ain't no star
But she sure talk good
And she move so fast

But the gal in danger
Yeah, the gal in chains
But she keep on pushin'
Would ya take her place?
She countin' up the minutes
Countin' up the days
She's a sweet black angel, whoa
Not a sweet black slave

Ten little niggers
Sittin' on the wall
Her brothers been a fallin'
Fallin' one by one
For a judges murder
In a judges court
Now the judge he gonna judge her
For all that he's a worth

Well the gal in danger
The gal in chains
But she keep on pushin'
Would you do the same?
She countin' up the minutes
She countin' up the days
She's a sweet black angel
Not a gun toting teacher
Not a Red lovin' school mom
Ain't someone gonna free her
Free the sweet black slave
Free the sweet black slave
Free the sweet black slave
Free the sweet black slave

"Torn And Frayed"

Hey let him follow you down
Way underground wind and he's bound
Bound to follow you down
Just a dead beat right off the street
Bound to follow you down

Well the ballrooms and smelly bordellos
And dressing rooms filled with parasites
On stage the band has got problems
They're a bag of nerves on first nights

He ain't tied down to no home town
Yeah, and he thought he was reckless
You think he's bad, he thinks you're mad
Yeah, and the guitar player gets restless

And his coat is torn and frayed
It's seen much better days
Just as long as the guitar plays
Let it steal your heart away
Let it steal your heart away

And his coat is torn and frayed
It's seen much better days
Just as long as the guitar plays
Let it steal your heart away

Joe's got a cough, sounds kind a rough
Yeah, and the codeine to fix it
Doctor prescribes, drug store supplies
Who's gonna help him to kick it?

And his coat is torn and frayed
It's seen much better days
Just as long as the guitar plays
Let it steal your heart away
Let it steal your heart away

And his coat is torn and frayed
It's seen much better days
Just as long as the guitar plays
Just as long as the guitar plays
Just as long as the guitar plays
Just as long as the guitar plays

"Sweet Virginia"

Wadin' through the waste stormy winter
And there's not a friend to help you through
Tryin' to stop the waves behind your eyeballs
Drop your reds, drop your greens and blues

Thank you for your wine, California
Thank you for your sweet and bitter fruits
Yes I got the desert in my toenail
And I hid the speed inside my shoe

But come on, come on down Sweet Virginia
Come on, honey child, beg you
Come on, come on down, you got it in you
Got to scrape the shit right off your shoes

I want you to come on and sing it with me one time
All right

Yeah, I want you to come on, come on down Sweet Virginia
I said I want you to come on, honey child, I beg you
I want you to come on honey child, you got it in you
Got to scrape that shit right off your shoes

One more time
Hey

Come on, come on down Sweet Virginia
Come on, come on down, I beg of you
Come on, come on down, you got it in you
Got to scrape that shit right off your shoes

"Tumbling Dice"

Women think I'm tasty
But they're always tryin' to waste me
Make me burn the candle right down
Baby, baby, don't need no jewels in my crown

'Cause all you women is low down gamblers
Cheatin' like I don't know how
Baby, I go crazy, there's fever in the funk house now

This low down bitchin'
Got my poor feet a-itchin'
You know you know the deuce is still wild
Baby, I can't stay, you got to roll me
And call me the tumblin' dice

Always in a hurry, I never stop to worry
Don't see the time flashin' by
Honey, got no money
I'm all sixes and sevens and nines

Say now, baby, I'm the rank outsider
You can be my partner in crime
Baby, I can't stay
You got to roll me and call me the tumblin'
Roll me and call me the tumblin' dice

Oh, my, my, my, I'm the lone crap shooter
Playin' the field every night
Baby, can't stay
You got to roll me and call me the tumblin' (dice)
Roll me and call me the tumblin'
(Got to roll me) dice

Got to roll me. Got to roll me
Got to roll me. Got to roll me
Got to roll me. Got to roll me
Keep on rolling
Got to roll me
Keep on rolling
Got to roll me

(Oh yeah, keep on rolling)
Got to roll me (Call me the tumbling dice)
Got to roll me (Yeah)
Got to roll me (Roll me, baby [?])
Got to roll me (Ah yeah)
Got to roll me (Oh my, my, my, my)
Got to roll me
Got to roll me (Keep on tumbling down, baby, oh)
Got to roll me
Got to roll me
Got to roll me

"Casino Boogie"

No good, can't speak, wound up, no sleep
Sky diver insider, slip rope, stunt flyer

Wounded lover, got no time on hand

One last cycle, thrill freak Uncle Sam
Pause for business, hope you'll understand

Judge and jury walk out hand in hand

Dietrich movies, close up boogies
Kissing cunt in Cannes
Grotesque music, million dollar sad

Got no tactics, got no time on hand

Left shoe shuffle, right shoe muffle
Sinking in the sand
Fade out freedom, steaming heat on
Watch that hat in black

Finger twitching, got no time on hand

"Shake Your Hips"

I wanna tell you 'bout a dance
That's goin' around
Everybody's doin' it
From the grownups down

Don't move your head
Don't move your hands
Don't move your lips
Just shake your hips

Do the hip shake, babe
Do the hip shake, babe
Shake your hip, babe
Shake your hip, babe

What you don't know
Don't be afraid
Just listen to me
And do what I say

Don't move your head
Don't move your hands
Don't move your lips
Just shake your hips

Do the hip shake, babe
Do the hip shake, babe
Shake your hip, babe
Shake your hip, babe

Well ain't that easy

Well, I met a little girl
In a country town
She said, "What do you know
There's Slim Harpo!"

Didn't move her head
Didn't move her hands
Didn't move her lips
Just shook her hips

Do the hip shake, babe
Do the hip shake, babe
Shake your hip, babe
Shake your hip, babe
Well ain't that easy

"Rip This Joint"

Mama says yes, Papa says no
Make up you mind 'cause I gotta go
I'm gonna raise hell at the Union Hall
Drive myself right over the wall

Rip this joint, gonna save your soul
Round and round and round we go
Roll this joint, gonna get down low
Start my starter, gonna stop the show

Yeah!
Oh, yeah!

Mister President, Mister Immigration Man
Let me in, sweetie, to your fair land
I'm Tampa bound and Memphis too
Short Fat Fanny is on the loose

Dig that sound on the radio
Then slip it right across into Buffalo
Dick and Pat in ole D.C.
Well they're gonna hold some shit for me

Ying yang, you're my thing
Oh, now, baby, won't you hear me sing
Flip Flop, fit to drop
Come on baby, won't you let it rock?

Oh, yeah!
Oh, yeah!

From San Jose down to Santa Fe
Kiss me quick, baby, won't you make my day
Down to New Orleans with the Dixie Dean
'Cross to Dallas, Texas with the Butter Queen

Rip this joint, gonna rip yours too
Some brand new steps and some weight to lose
Gonna roll this joint, gonna get down low
Round and round and round we'll go

Wham, Bham, Birmingham,
Alabam' don't give a damn
Little Rock fit to drop
Ah, let it rock

"Rocks Off"

Oh yeah

I hear you talking when I'm on the street
Your mouth don't move but I can hear you speak

What's the matter with the boy?
He don't come around no more
Is he checking out for sure?
Is he gonna close the door on me?

And I'm always hearing voices on the street
I want to shout, but I can hardly speak

I was making love last night
To a dancer friend of mine
I can't seem to stay in step
'Cause she come ev'ry time that she pirouettes over me

And I only get my rocks off while I'm dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I'm sleeping
(Only get them off, only get them off, only get them off)

I'm zipping through the days at lightning speed
Plug in, flush out and fire the fuckin' feed

Heading for the overload
Splattered on the nasty road
Kick me like you've kicked before
I can't even feel the pain no more

And I only get my rocks off while I'm dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I'm sleeping
(Only get them off, only get them off, only get them off)

Feel so hypnotized, can't describe the scene
It's all mesmerized all that inside me

The sunshine bores the daylights out of me
Chasing shadows moonlight mystery

Heading for the overload
Splattered on the dirty road
Kick me like you've kicked before
I can't even feel the pain no more

And I only get my rocks off while I'm dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I'm sleeping
(Only get them off, only get them off, only get them off)

And I only get my rocks off while I'm dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I'm sleeping
(Only get them off, only get them off, only get them off)

And I only get my rocks off while I'm sleeping
(Only get them off, only get them off, only get them off)
(Only get them off, only get them off, only get them off)

"Moonlight Mile"

When the wind blows and the rain feels cold
With a head full of snow
With a head full of snow
In the window there's a face you know
Don't the night pass slow?
Don't the nights pass slow?

The sound of strangers sending nothing to my mind
Just another mad mad day on the road
I am just living to be lying by your side
But I'm just about a moonlight mile on down the road

Made a rag pile of my shiny clothes
Gonna warm my bones
Gonna warm my bones
I got silence on my radio
Let the air waves flow
Let the air waves flow

Oh I am sleeping under strange strange skies
Just another mad mad day on the road
My dreams is fading down the railway line
I'm just about a moonlight mile on down the road

Yeah, yeah, yeah, yeah, yeah, yeah

I'm hiding sister and I'm dreaming
I'm riding down your moonlight mile
I'm hiding baby and I'm dreaming
I'm riding down your moonlight mile

I'm riding down your moonlight mile
Let it go now, come on up babe
Yeah, let it go now
Yeah, flow now baby
Yeah move on now yeah

Yeah, I'm coming home
'Cause I'm just about a moonlight mile on down the road
Down the road, down the road
Yeah, yeah, baby

"Dead Flowers"

Well when you're sitting there in your silk upholstered chair
Talkin' to some rich folk that you know
Well I hope you won't see me in my ragged company
Well, you know I could never be alone

Take me down little Susie, take me down
I know you think you're the queen of the underground

And you can send me dead flowers every morning
Send me dead flowers by the mail
Send me dead flowers to my wedding
And I won't forget to put roses on your grave

Well when you're sitting back in your rose pink Cadillac
Making bets on Kentucky Derby Day
I'll be in my basement room with a needle and a spoon
And another girl can take my pain away

Take me down little Susie, take me down
I know you think you're the queen of the underground

And you can send me dead flowers every morning
Send me dead flowers by the mail
Send me dead flowers to my wedding
And I won't forget to put roses on your grave

Take me down little Susie, take me down
I know you think you're the queen of the underground

And you can send me dead flowers every morning
Send me dead flowers by the U.S. Mail
Say it with dead flowers at my wedding
And I won't forget to put roses on your grave
No, I won't forget to put roses on your grave

"Sister Morphine"

Here I lie in my hospital bed
Tell me, Sister Morphine, when are you coming round again?
Oh, and I don't think I can wait that long
Oh, you see that I'm not that strong

The scream of the ambulance is sounding in my ears
Tell me, Sister Morphine, how long have I been lying here?

What am I doing in this place?
Why does the doctor have no face?

Oh, I can't crawl across the floor
Ah, can't you see, Sister Morphine, I'm trying to score?

Well it just goes to show
Things are not what they seem
Please, Sister Morphine, turn my nightmares into dreams
Oh, can't you see I'm fading fast?
And that this shot will be my last?

Sweet Cousin Cocaine, lay your cool cool hand on my head
Ah, come on, Sister Morphine, you better make up my bed
'Cause you know and I know in the morning I'll be dead
Yeah, you can sit around, yeah you can watch
All the clean white sheets stained red

"I Got The Blues"

As I stand by your flame
I get burned once again
Feelin' low down, I'm blue

As I sit by the fire
Of your warm desire
I've got the blues for you, yeah

Every night you've been away
I've sat down and I have prayed
That you're safe in the arms of a guy
Who will bring you alive
Won't drag you down with abuse

In the silk sheet of time
I will find peace of mind
Love is a bed full of blues

And I've got the blues for you
And I've got the blues for you
And I'll bust my brains out for you
And I'll tear my hair out
I'm gonna tear my hair out just for you
If you don't believe what I'm singing
At three o'clock in the morning, babe, well
I'm singing my song for you

"Bitch"

Feeling so tired, can't understand it
Just had a fortnight's sleep
I'm feeling so stuffed, I'm so distracted
Ain't touched a thing all week

I'm feeling drunk, juiced up and sloppy
Ain't touched a drink all night
I'm feeling hungry, can't see the reason
Just had a horse meat pie

Yeah when you call my name
I salivate like a Pavlov dog
Yeah when you lay me out
My heart is beating louder than a big bass drum, alright

Yeah, you got to mix it, child, you got to fix
It must be love, it's a bitch
Yeah, you got to mix it, child, you got to fix
It must be love, it's a bitch, alright

Sometimes, I'm sexy, move like a stud
Like kicking the stall all night
Sometimes, I'm so shy, got to be worked on
Don't have no bark or bite, alright

Yeah, when you call my name
I salivate like a Pavlov dog
Yeah, when you lay me out
My heart is bumping louder than a big bass drum, alright

I want it, woo
I said, hey, yeah, get alright now, get it
Got to be
Hey, I'll get alright now, get it
Hey, hey, hey
Hey, hey, yeah
Hey, hey, hey
Hey, hey, yeah
Hey, hey, hey
Hey, hey, yeah
Hey, hey, hey
Hey, hey, yeah, get on
Hey, hey, hey

"You Gotta Move"

You got to move
You got to move
You got to move, child
You got to move
Oh, when the Lord get ready
You got to move

You may be high
You may be low
You may be rich, child
You may be poor
But when the Lord get ready
You got to move

You see that woman
Who walks the street
You see that police
Upon his beat
But then the Lord get ready
You got to move

You got to move

"Can't You Hear Me Knocking"

Yeah, you got satin shoes
Yeah, you got plastic boots
Y'all got cocaine eyes
Yeah, you got speed-freak jive now

Can't you hear me knockin' on your window?
Can't you hear me knockin' on your door?
Can't you hear me knockin' down your dirty street, yeah?

Help me baby, ain't no stranger
Help me baby, ain't no stranger
Help me baby, ain't no stranger

Can't you hear me knockin', ah, are you safe asleep?
Can't you hear me knockin', yeah, down the gas light street, now
Can't you hear me knockin', yeah, throw me down the keys
Alright now

Hear me ringing big bell tolls
Hear me singing soft and low
I've been begging on my knees
I've been kickin', help me please

Hear me prowlin'
I'm gonna take you down
Hear me growlin'
Yeah, I've got flatted feet now, now, now, now

Hear me howlin'
And all, all around your street now
Hear me knockin'
And all, all around your town

"Wild Horses"

Childhood living is easy to do
The things you wanted I bought them for you
Graceless lady you know who I am
You know I can't let you slide through my hands

Wild horses couldn't drag me away
Wild, wild horses, couldn't drag me away

I watched you suffer a dull aching pain
Now you decided to show me the same
No sweeping exits or offstage lines
Could make me feel bitter or treat you unkind

Wild horses couldn't drag me away
Wild, wild horses, couldn't drag me away

I know I dreamed you a sin and a lie
I have my freedom but I don't have much time
Faith has been broken, tears must be cried
Let's do some living after we die

Wild horses couldn't drag me away
Wild, wild horses, we'll ride them some day

Wild horses couldn't drag me away
Wild, wild horses, we'll ride them some day

"Sway"

1, 2, 3, 4

Did you ever wake up to find
A day that broke up your mind?
Destroyed your notion of circular time?

It's just that demon life has got you in its sway
It's just that demon life has got you in its sway

Ain't flinging tears out on the dusty ground
For my friends out on the burial ground
Can't stand the feeling getting so brought down

It's just that evil life that got me in its sway
It's just that evil life that got me in its sway

There must be ways to find out
Love is the way they say is really strutting out

Hey, hey, hey now

One day I woke up to find
Right in the bed next to mine
Someone that broke me up with a corner of her smile, yeah

It's just that demon life that got me in its sway
It's just that demon life that got me in its sway
It's just that demon life that got me in its sway

It's just that demon life that got me
It's just that demon life that got me

"Brown Sugar"

Gold coast slave ship bound for cotton fields
Sold in a market down in New Orleans
Skydog slaver knows he's doing alright
Hear him whip the women just around midnight

Brown sugar how come you taste so good?
Brown sugar just like a young girl should

Drums beating, cold English blood runs hot
Lady of the house wonderin' where it's gonna stop
House boy knows that he's doing alright
You shoulda heard him just around midnight

Brown sugar how come you taste so good, now?
Brown sugar just like a young girl should, now

Ah, get along, brown sugar how come you taste so good, baby?
Ah, got me feelin' now, brown sugar just like a black girl should

I bet your mama was a tent show queen
And all her boyfriends were sweet sixteen
I'm no schoolboy but I know what I like
You shoulda heard me just around midnight

Brown sugar how come you taste so good, baby?
Ah, brown sugar just like a young girl should, yeah

I said yeah, yeah, yeah, woo
How come you... how come you taste so good?
Yeah, yeah, yeah, woo
Just like a... just like a black girl should
Yeah, yeah, yeah, woo

"You Can't Always Get What You Want"

I saw her today at the reception
A glass of wine in her hand
I knew she would meet her connection
At her feet was a footloose man

No, you can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometime you find
You get what you need

I saw her today at the reception
A glass of wine in her hand
I knew she was gonna meet her connection
At her feet was a footloose man

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes, well, you might find
You get what you need

And I went down to the demonstration
To get my fair share of abuse
Singing, "We're gonna vent our frustration
If we don't we're gonna blow a 50-amp fuse"

Sing it to me, honey

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes, well, you just might find
You get what you need

Oh baby, yeah

I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And man, did he look pretty ill

We decided that we would have a soda
My favorite flavor, cherry red
I sung my song to Mr. Jimmy
Yeah, and he said one word to me, and that was "dead"

I said to him

You can't always get what you want
Well no
You can't always get what you want
I tell you, baby
You can't always get what you want
No
But if you try sometimes you just might find
You get what you need

Oh, yeah, woo

You get what you need
Yeah, oh baby

I saw her today at the reception
In her glass was a bleeding man
She was practiced at the art of deception
Well I could tell by her blood-stained hands

Sing it

You can't always get what you want
You can't always get what you want, ooh yeah, child
You can't always get what you want
But if you try sometimes you just might find
You just might find
You get what you need

Ah yeah
Ah yeah, woo!

Ah, you can't always get what you want
(No no, baby)
You can't always get what you want
(You can't now now)
You can't always get what you want
But if you try sometime you just might find
You just might find
That you get what you need

Ah yeah!
Ah yeah! Do that

"Monkey Man"

I'm a fleabit peanut monkey
All my friends are junkies
That's not really true

I'm a cold Italian pizza
I could use a lemon squeezer
Would you do?

But I've been bit and I've been tossed around
By every she-rat in this town
Have you, babe?

Well, I am just a monkey man
I'm glad you are a monkey woman too

I was bitten by a boar
I was gouged and I was gored
But I pulled on through

Yes, I'm a sack of broken eggs
I always have an unmade bed
Don't you?

Well, I hope we're not too messianic
Or a trifle too satanic
We love to play the blues

Well I am just a monkey man
I'm glad you are a monkey, monkey woman too, babe

I'm a monkey! I'm a monkey!
I'm a monkey man! I'm a monkey man!
I'm a monkey! I'm a monkey! I'm a monkey! I'm a monkey!
M-m-m-monkey! M-m-m-m-monkey! I'm a m-m-m-monkey!
M-m-m-ma ma ma ma!
Ma ma ma ma ma
Ma ma ma ma ma monkey!
Ah! I'm a monkey!
Ah! Ah! Ah! Ah!

"You Got The Silver"

Hey babe, what's in your eyes?
I saw them flashing like airplane lights
You fill my cup, babe, that's for sure
I must come back for a little more

You got my heart you got my soul
You got the silver you got the gold
You got the diamonds from the mine
Well that's all right, it'll buy some time

Tell me, honey, what will I do
When I'm hungry and thirsty too
Feeling foolish (and that's for sure)
Just waiting here at your kitchen door?

Hey baby, what's in your eyes?
Is that the diamonds from the mine?
What's that laughing in your smile?
I don't care, no, I don't care

Oh babe, you got my soul
You got the silver you got the gold
If that's your love, just leave me blind
I don't care, no, that's no big surprise

"Midnight Rambler"

Did you hear about the midnight rambler?
Everybody got to go
Did you hear about the midnight rambler?
The one that shut the kitchen door

He don't give a hoot of warning
Wrapped up in a black cat cloak
He don't go in the light of the morning
He split the time the cock'rel crows

Talkin' about the midnight gambler
The one you never seen before
Yeah, talkin' about the midnight gambler
Did you see him jump the garden wall?

Sighin' down the wind so sadly
Listen and you'll hear him moan
Yeah, well I'm talkin' about the midnight gambler
Everybody got to go

Yes

Did you hear about the midnight rambler?
Well, honey, it's no rock 'n' roll show
Well, I'm talkin' about the midnight gambler
Yeah, the one you never seen before

Don't do that, don't do that, don't do that
Don't do that, don't do that
Don't do that, don't do that
Don't do that, don't do that
Don't do that, don't do that
Don't do that, don't do that
Don't do that, don't you do that
Don't you, don't you do that

Don't do that
Don't do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that
Don't you do that

Don't you, don't you do that
Don't you, don't you do that
Don't you, don't you do that
Don't you, don't you do that
Don't you, don't you do that
Don't you, don't you do that
Don't you, don't you do that

Oh don't do that
Oh don't do that
Oh don't do that
Oh don't do that
Oh don't do that
Oh don't do that
Oh don't do that
Oh don't do that
Oh don't do that
Oh don't do that

Well you heard about the Boston
It's not one of those
Well, talkin' 'bout the midnight...sh
The one that closed the bedroom door

I'm called the hit-and-run raper in anger
The knife-sharpened tippie-toe
Or just the shoot 'em dead, brainbell jangler
You know, the one you never seen before

So if you ever meet the midnight rambler
Coming down your marble hall
Well he's pouncing like a proud black panther
Well, you can say I, I told you so

Well, don't you listen for the midnight rambler
Play it easy, as you go
I'm gonna smash down all your plate glass windows
Put a fist, put a fist through your steel-plated door

Did you hear about the midnight rambler?
He'll leave his footprints up and down your hall
And did you hear about the midnight gambler?
And did you see me make my midnight call?

And if you ever catch the midnight rambler
I'll steal your mistress from under your nose
I'll go easy with your cold fanged anger
I'll stick my knife right down your throat, baby
And it hurts!

"Let It Bleed"

Well, we all need someone we can lean on
And if you want it, well, you can lean on me
Yeah, we all need someone we can lean on
And if you want it, well, you can lean on me

She said, "My breasts, they will always be open
Baby, you can rest your weary head right on me
And there will always be a space in my parking lot
When you need a little coke and sympathy"

Yeah, we all need someone we can dream on
And if you want it, baby, well you can dream on me
Yeah, we all need someone we can cream on
And if you want to, well you can cream on me

I was dreaming of a steel guitar engagement
When you drunk my health in scented jasmine tea
But you knifed me in my dirty filthy basement
With that jaded, faded, junky nurse
Oh what pleasant company
Come on

We all need someone we can feed on
And if you want it, well you can feed on me

Take my arm, take my leg, oh baby don't you take my head

Yeah, we all need someone we can bleed on
Yeah, and if you want it, baby, well you can bleed on me
Yeah, we all need someone we can bleed on
Yeah, yeah, and if you want it, baby, why don't you bleed on me

All over

Come on, babe

Ah, bleed it alright, bleed it alright, bleed it alright
You can bleed all over me
Bleed it alright, bleed it alright, you can be my rider
You can cum all over me

Bleed it alright, baby, bleed it alright, bleed it alright
You can cum all over me

Bleed it alright, baby cum all over me
Bleed it alright
Bleed it alright

"Live With Me"

I got nasty habits
I take tea at three
Yes, and the meat I eat for dinner
It must be hung up for a week

My best friend, he shoots water rats
And feeds them to his geese
Don't you think there's a place for you
In between the sheets?

Come on now, honey
We can build a home for three (Yeah)
Come on now, honey
Don't you want to live with me?
Woo!

And there's a score of harebrained children
They're all locked in the nursery
They got earphone heads, they got dirty necks
They're so 20th century

Well, they queue up for the bathroom
'Round about 7:35
Don't you think we need a woman's touch
To make it come alive?

You'd look good
Pram-pushing down the high street
Come on now, honey
Don't you want to live with me?

Whoa, the servants they're so helpful, dear
The cook she is a whore
Yes, the butler has a place for her
Behind the pantry door

Woo!
The maid, she's French, she's got no sense
She's wild for Crazy Horse
And when she strips, the chauffeur flips
The footman's eyes get crossed
Woo!

Don't you think there's a place for us
Right across the street?
Don'cha think there's a place for you
In between the sheets?

"Country Honk"

Here we go

I'm sittin' in a bar tipplin' a jar in Jackson
And on the street the summer sun it shines
There's many a bar-room queen I've had in Jackson
But I just can't seem to drink you off my mind

It's the honky tonk women
Gimme, gimme, gimme the honky tonk blues

I laid a divorcee in New York City
I had to put up some kind of a fight
The lady she all dressed me up in roses
She blew my nose and then she blew my mind

It's the honky tonk women
Gimme, gimme, gimme the honky tonk blues

Ah yes
Woo!
All right

It's the honky tonk women
Gimme, gimme, gimme the honky tonk blues

All over

It's the honky tonk women
Gimme, gimme, gimme the honky tonk blues

"Love In Vain"

Well I followed her to the station
With a suitcase in my hand
Yeah, I followed her to the station
With a suitcase in my hand

Whoa, it's hard to tell, it's hard to tell
When all your love's in vain

When the train come in the station
I looked her in the eye
Well the train come in the station
And I looked her in the eye

Whoa, I felt so sad so lonesome
That I could not help but cry

When the train left the station
It had two lights on behind
Yeah, when the train left the station
It had two lights on behind

Whoa, the blue light was my baby
And the red light was my mind

All my love's in vain
All my love's in vain

"Gimme Shelter"

Oh, a storm is threat'ning
My very life today
If I don't get some shelter
Oh yeah, I'm gonna fade away

War, children, it's just a shot away
It's just a shot away
War, children, it's just a shot away
It's just a shot away

Ooh, see the fire is sweepin'
Our very street today
Burns like a red coal carpet
Mad bull lost your way

War, children, it's just a shot away
It's just a shot away
War, children, it's just a shot away
It's just a shot away

Rape, murder!
It's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away
Rape, murder!
It's just a shot away
It's just a shot away

The floods is threat'ning
My very life today
Gimme, gimme shelter
Or I'm gonna fade away

War, children, it's just a shot away
It's just a shot away
It's just a shot away
It's just a shot away
It's just a shot away

I tell you love, sister, it's just a kiss away
It's just a kiss away
It's just a kiss away
It's just a kiss away
It's just a kiss away
Kiss away, kiss away

"Salt Of The Earth"

Let's drink to the hard-working people
Let's drink to the lowly of birth
Raise your glass to the good and the evil
Let's drink to the salt of the earth

Say a prayer for the common-foot soldier
Spare a thought for his back-breaking work
Say a prayer for his wife and his children
Who burn the fires and who still till the earth

When I search a faceless crowd
A swirling mass of gray and black and white
They don't look real to me
In fact, they look so strange

Raise your glass to the hard-working people
Let's drink to the uncounted heads
Let's think of the wavering millions
Who need leading but get gamblers instead

Spare a thought for the stay-at-home voter
Empty eyes gaze at strange beauty shows
And a parade of the gray-suited grafters
A choice of cancer or polio

When I look in the faceless crowd
A swirling mass of grays and black and white
They don't look real to me
Oh don't they look so strange?

Let's drink to the hard-working people
Let's think of the lowly of birth
Spare a thought for the rag taggy people
Let's drink to the salt of the earth

Let's drink to the hard-working people
Let's drink to the salt of the earth
Let's drink to the two thousand million
Let's think of the humble of birth

Let's take a drink to the salt of the earth
Let's take a drink to the salt of the earth
Let's take a drink to the salt of the earth
Let's take a drink to the salt of the earth
Let's take a drink to the salt of the earth
Let's take a drink to the salt of the earth
Let's take a drink to the salt of the earth
Let's take a drink to the salt of the earth

"Factory Girl"

Waiting for a girl who's got curlers in her hair
Waiting for a girl she has no money anywhere
We get buses everywhere

Waiting for a factory girl

Waiting for a girl and her knees are much too fat
Waiting for a girl who wears scarves instead of hats
Her zipper's broken down the back

Waiting for a factory girl

Waiting for a girl and she gets me into fights
Waiting for a girl we get drunk on Friday night
She's a sight for sore eyes

Waiting for a factory girl

Waiting for a girl she's got stains all down her dress
Waiting for a girl and my feet are getting wet
She ain't come out yet

Waiting for a factory girl

"Stray Cat Blues"

Ah... hey
Yeah, cat's own tail

I hear the click-clack of your feet on the stairs
I know you're no scare-eyed honey
There'll be a feast if you just come upstairs

But it's no hanging matter
It's no capital crime

I can see that you're fifteen years old
No, I don't want your I.D
And I can see that you're so far from home

But that's no hanging matter
It's no capital crime

Oh yeah, you're a strange stray cat
Oh yeah, don't you scratch like that
Oh yeah, you're a strange stray cat
I bet, bet your mama don't know you scream like that
I bet your mother don't know you can spit like that

You look so weird and you're so far from home
But you really miss your mother
Don't look so scared I'm no mad-brained bear

But but it's no hanging matter
It's no capital crime

Oh, yeah
Woo!

I bet your mama don't know that you scratch like that
I bet she don't know you can bite like that

You say you got a friend, that she's wilder than you
Why don't you bring her upstairs?
If she's so wild then she can join in too

It's no hanging matter
It's no capital crime

Oh yeah, you're a strange stray cat
Oh yeah, don't you scratch like that
Oh yeah, you're a strange stray cat
I bet you mama don't know you can bite like that
I'll bet she never saw you scratch my back

"Prodigal Son"

Well a poor boy took his father's bread and started down the road
Started down the road
Took all he had and started down the road
Going out in this world, where God only knows
And that'll be the way to get along

Well poor boy spent all he had, famine come in the land
Famine come in the land
Spent all he had and famine come in the land
Said, "I believe I'll go and hire me to some man
And that'll be the way I'll get along."

Well, man said, "I'll give you a job for to feed my swine
For to feed my swine
I'll give you a job for to feed my swine"
Boy stood there and hung his head and cried
Cause that is no way to get along

Said, "I believe I'll ride, believe I'll go back home
Believe I'll go back home
Believe I'll ride, believe I'll go back home
Or down the road as far as I can go"
And that'll be the way to get along

Well, father said, "See my son coming after me
Coming home to me"
Father ran and fell down on his knees
Said, "Sing and praise, Lord have mercy on me"
Mercy

Oh poor boy stood there, hung his head and cried
Hung his head and cried
Poor boy stood and hung his head and cried
Said, "Father will you look on me as a child?"
Yeah

Well father said, "Eldest son, kill the fatted calf,
Call the family round
Kill that calf and call the family round
My son was lost but now he is found
Cause that's the way for us to get along"

Hey

"Jig-Saw Puzzle"

There's a tramp sittin' on my doorstep
Tryin' to waste his time
With his methylated sandwich
He's a walking clothesline
And here comes the bishop's daughter
On the other side
And she looks a trifle jealous
She's been an outcast all her life

Me, I'm waiting so patiently
Lying on the floor
I'm just trying to do my jig-saw puzzle
Before it rains anymore

Oh the gangster looks so fright'ning
With his Luger in his hand
But when he gets home to his children
He's a family man
But when it comes to the nitty-gritty
He can shove in his knife
Yes he really looks quite religious
He's been an outlaw all his life

Me, I'm waiting so patiently
Lying on the floor
I'm just trying to do this jig-saw puzzle
Before it rains anymore

Yes, yes now
Oh, all right

Me, I'm waiting so patiently
Lying on the floor
I'm just trying to do this jig-saw puzzle
Before it rains anymore

Oh the singer, he looks angry
At being thrown to the lions
And the bass player, he looks nervous
About the girls outside
And the drummer, he's so shattered
Trying to keep up time
And the guitar players look damaged
They've been outcasts all their lives

Me, I'm waiting so patiently
Lying on the floor
I'm just trying to do this jig-saw puzzle
Before it rains anymore

Oh, there's twenty-thousand grandmas
Wave their hankies in the air
All burning up their pensions
And shouting, "It's not fair!"
There's a regiment of soldiers
Standing looking on
And the queen is bravely shouting,
"What the hell is going on?"

With a blood-curdling "tally-ho"
She charged into the ranks
And blessed all those grandmas who
With their dying breaths screamed, "Thanks!"

Me, I'm just waiting so patiently
With my woman on the floor
We're just trying to do this jig-saw puzzle
Before it rains anymore