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: prittvi, 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 prittvi 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.
During the Sahaja Maithuna (sexual magic), the Gnostic man must personify Shiva (the Holy Spirit) and feel flooded with this marvelous strength from the Third Logos.
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 complex. 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 members of the couple keeping 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.
“Tiryak, whose essence consists of the woman lying on her side. Of this division there are three subdivisions:
“1) ...is when the husband, placing himself alongside his wife [and facing her], raises one of her legs over his hip and leaves the other lying upon the bed or carpet. This asana [position] is fitted only for practice with a grown-up woman; in the case of a younger person, the result is by no means satisfactory.
“2) ...both man and woman lie straight on their sides, without any movement or change in the position of her limbs.
“3) both being on their sides, the husband lies between his wife’s thighs, one under him, and the other being thrown over his flank, a little below the breast.”
It is useful to invoke Kamadeva during the Sahaja Maithuna in the “forge of Cyclops.” Kamadeva is the Hindu god of love. His name literally means “god of desire,” and he is considered to be the son of the sky and illusion.
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 his practices offended Hara, the master of creation, 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.
The earthly couple Adam-Eve, through Sahaja Maithuna (sexual magic) find their contact even more human and more pure in the divine elevated couple Shiva-Shakti.
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 Flower (1971) by Samael Aun Weor. The print and ebook editions by Glorian Publishing (a non-profit organization) include features like illustrations, footnotes, glossary, and index.