The Record of Yoga has some more text a couple of pages on which can be added here. The disposition of the Manwantaras may now be described. It will be remembered that there are fourteen Manus and ten gavas of the Dashagava. How are these divided among the Manus? In this Kalpa or rather Pratikalpa the type Pashu is the Vanara, but as in all Nature’s movements, even in manifesting the Vanara, the others first make their appearance rapidly before the type “arrives”; those most germane to the matter are the lion, tiger, elephant, dog, wolf, cat, bull & cow, bear, fox, ass, horse, bee, ant, butterfly, fish, eagle (also kite, hawk & vulture), songbird, crow & cuckoo etc. In all these human egos readily incarnate & the human type absorbs them all. The first Manu takes all these totems&applies them to the general type of the Asura, driving at the evolution of a giant Vanara-Asura who has in him all these elements & combines them into an animal harmony dominated by curiosity, humour, adaptability & adaptiveness, the Ape virtues which bring that type nearest to man. This Vanara Asura the first Manu hands on to the second, who takes the type, fulfils it and evolves it into the Pishacha-Asura. This he does by bringing the Ape curiosity uppermost and applying it to all the experiences of man’s animal life, to play, work, domesticity, battle, pleasure, pain, laughter, grief, relations, arrangements etc. All the higher qualities imagination, reflection, invention, thought, spirituality even are turned towards these experiences & their possibilities, cognitional not aesthetic exhausted so far as the human animal can exhaust them. This however, is done only in the third Manwantara. In the second it is the Vanara who satisfies his humour, curiosity & adaptiveness in a far more elementary & summary fashion, but as he does so, he begins to refine & evolve in search of new sensations until the full Pisacha Asura is born. This type is handed over to the third Manu to fulfil, & to it two Manvantaras are devoted, in the third the Pisacho-Pramatha of the Asura type evolves; in the fourth the Pisacha Pramatha evolves into the full Pramatha-Asura. The curiosity ceases to be merely cognitional & practically scientific, it becomes aesthetic with an animal & vital aestheticism; the Pramatha seeks to extract their full emotional & aesthetic values, their full rasa out of everything in life, out of torture equally with ecstasy, death equally with life, grief equally with joy. That type is evolved by the fifth Manu into the Pramatha-Rakshasa of the Asura type, & by the sixth into the full Rakshasa-Asura. The Rakshasa it is who first begins really to think, but his thought is also egoistic & turned towards sensation. What he seeks is a gross egoistic satisfaction in all the life of the mind, prana & body, in all the experiences of the Pashu, Pisacha, Pramatha & his own. But as this type is not a pure Rakshasa, but a Rakshasasura, the thought is there from the beginning, for the Rakshasa has already established it in the human mould in the fifth pratikalpa. It now, however, in the Asura ceases to be subservient to the vital & animal instincts & becomes the instrument instead of a vigorous, violent & clamorous intellectual ego. As the main type is that of the Asura, there is always a tendency to subordinate the lower ego to the intellectual Aham, but the subordination is at first only a self-disciplining for a more intelligently victorious selfindulgence, like the tapasya of Ravana. This type evolved is fixed in the character of Ravana and takes possession of its field in the Manwantara of the seventh Manu, Vaivasvata. In that Manwantara it evolves into the Asuro-Rakshasa in which the intellectual ego & the emotional, sensational ego enter into an equal copartnership for the grand enthronement & fulfilment of the human ahankara. As the type of the sensational&emotional Rakshasa-Asura is Ravana, so the type of the more mightily balanced Asura Rakshasa of the Asura type is Hiranyakashipu. In the eighthManwantara this Asura Rakshasa evolves into the pure Asura who serves his intellectual ego & subordinates to it all the other faculties. That type reigns with the ninth Manu & evolves into the Asuradeva of the Asura mould&in the tenth Manvantara into theDevasurawho enthrones the vijnana and glorifies the Asura existence by the vijnanamaya illuminations playing on the whole of the triple mental[,] vital & bodily life of man. In the eleventh & twelfth manwantaras the Devasura evolves into the Sadhya, the Anandamaya Asura who at first with the pure Ananda, then with the Tapomaya Ananda, then with the Sanmaya Ananda dominates the reigns of the thirteenth & fourteenth Manus & completes the apotheosis of the Asura in man. With the Siddhadeva in the Asura the hundredth Chaturyuga of the sixth Pratikalpa comes to a glorious close.