We need to inquire, research, and investigate the delightful paroxysm of sexual union, as it is not just a reflection of the Tamas, according to the Tantras.
During the paroxysm of joy, we must discover directly the cosmic and creative synthesis of Shiva (Holy Spirit) and Shakti (His divine spouse Kundalini).
While the ordinary intellectual animal is fatally defeated by abominable concupiscence and gets carried away by passionate affection, in other words, suffers during enjoyment for the vile consummation of pleasure, the Gnostic esotericist, in total ecstasy during coitus, victoriously enters the region of the Monads in the splendid world of Tattva Anupadaka.
The preceding degree towards the world of Anupadaka is the extraordinary principle of the power which is related with the domain of space, time, and causality; this is called Akasha Tattva (the dwelling of Atman-Buddhi-Manas).
It is written in golden words in the great book of all splendors that sexual paroxysm is proto-tattvic.
An interplay of extraordinary vibrations begins during the Maithuna with the Tattva of Gold: prithvi, the magnificent ether of the perfumed earth, maintains perfect harmony with our physical bodies.
The harp continues in its delightful vibrations rippling the waters of universal life (Apas), the Ens Seminis.
The breath (Vayu) clearly alters and in the subtle atmosphere of the world the lyre of Orpheus resounds.
The sacred flame (Tejas) is ignited in the mysterious candlestick of the dorsal spine.
Now... Oh Gods! The knight (Superior Manas) and his lady (Buddhi) ardently embrace each other in the region of pure Akasha, trembling with sexual exaltation.
However, it is clear and unmistakable that Akasha is only a bridge of wonders and prodigies between the prithvi Tattvas (Earth) and Anupadaka (the world of splendors).
Sexual exaltation crosses the bridge of joy and enters the world of Atziluth, the region of Anupadaka, the dwelling of Shiva and Shakti; then He and She shine gloriously, enraptured with love.
Women, listen to me: Shakti must be lived regally during intercourse as Maya-Shakti (woman, Eve, Goddess). Only in this way can you be successful in the consubstantiation of love in the psycho-physiological reality of your nature.
Kalyanamalla repeatedly refers to the fact that “the fulfillment of the code of love is much more difficult than the profane imagines.”
“The preliminary pleasures are complicated in themselves. This art must be employed in exact accordance with the precepts to arouse the woman’s passion in the same way that a fire is kindled for her yoni to become softer, more elastic and suitable for the act of love.
“Ananga-ranga confers great importance to both components of the couple in that they keep their everyday life from taking on a lukewarm quality or letting weariness or satiety enter into their relations by consummating their love with spiritual absorption and total surrender. The method of intercourse, that is to say its position as described, is called asana.”
In this chapter, we describe the position called Tiryak for those readers of an appropriate age.
“The Tiryak position has three subdivisions in which the woman always lies on her side.
“a) The man positions himself alongside and facing the woman, taking one of her legs and placing it on his waist. Only with a fully developed woman can this posture be completely satisfied and must not be attempted with young women.
“b) The man and woman lie on their sides and she must not move at all.
“c) Lying on his side, the man moves between the woman’s thighs in such a way that one of her thighs is under him and the other on his waist.”
It is useful to invoke Kamadeva during the Sahaja Maithuna in the “forge of Cyclops.”
Rati (tenderness) is his wife, and Vasanta (the flowering season) is his companion, who constantly carries his quiver of arrows tipped with flowers.
Kamadeva had a visible figure, but as he offended the master of creation, Hara, by his practices, the latter reduced him to cinders with a glare; the Gods then revived him by dropping nectar on the ashes, and since then he is called Bodiless.
“He is represented riding on a parrot, his bow is of sugar-cane, the string of which is formed by bees.”
Homer has verified a description of the loving embrace of the divine couple, which is both delicate and magical.
“Beneath them the germinating earth burst with fresh green grass, lotuses, succulent clover, hyacinths and crocus, so thick and soft it lifted their bodies off the hard packed ground... and there they lay down together and drew about them a golden marvelous cloud, and the sparkling dew fell upon the ground.”
Intoxicated by the wine of love, beautifully attired in the gown of transcendental spirituality and crowned with the flowers of happiness, we must take advantage of the tremendous vibration of Tattva Anupadaka during sexual exaltation, imploring the igneous serpent of our magical powers to eliminate from our internal nature the psychological defects that we have already profoundly comprehended in all regions of the subconsciousness.
This is how we die from instant to instant and from moment to moment; only with death comes the new.
This chapter is from The Mystery of the Golden Blossom (1971) by Samael Aun Weor. The print and ebook editions by Glorian Publishing (a non-profit organization) are illustrated to aid your understanding, and include features like a glossary and index. Buy the book, and you benefit yourself and others.