the-eye.eu · 1 Contents Acknowledgments viii Introduction 1 PART ONE: Yoga Siddha-nta, or Theory 1 My Studies with ˛r• T. Kriß∆am¡c¡rya and Others 4 2 The Story of Patañjali

Yoga for the Three Stages of Life

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for the Three Stages of Life

Developing

Your Practice

As an Art Form,

a Physical Therapy,

and a Guiding

Philosophy

Sri.-vatsa Ra-maswa-mi.-

Inner TraditionsRochester, Vermont

Inner Traditions InternationalOne Park StreetRochester, Vermont 05767www.InnerTraditions.com

Copyright © 2000 by ˛r•vatsa R¡masw¡m•

All rights reserved. No part of this book may be reproduced or utilized in any form or by anymeans, electronic or mechanical, including photocopying, recording, or by any information stor-age and retrieval system, without permission in writing from the publisher.

LLIIBBRRAARRYY OOFF CCOONNGGRREESSSS CCAATTAALLOOGGIINNGG--IINN--PPUUBBLLIICCAATTIIOONN DDAATTAA

R¡masw¡m•, ˛r•vatsa.Yoga for the three stages of life : developing your practice as an art form, a

physical therapy, and a guiding philosophy / ˛r•vatsa R¡masw¡m•p. cm.

Includes index.

1. Yoga, Haòha. 2. Yoga. I. Title.

RA781.7 .R34 2000613.7'046—dc21

00-059781

Printed and bound in India by Replika Press Pvt. Ltd.

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1OMSri.- Ra-ma Jayam

THIS BOOK IS DEDICATED TO the memory of my mother, who said early inmy life “There is more to life than making a living”; to my father, who encouragedme in all my endeavors; to my guru, who had so much to give, and from which Icould take so little; and to Lord Almighty—˛r• Kriß∆¡rpa∆amastu.

1Contents

Acknowledgments viii

Introduction 1

PART ONE: Yoga Siddha-nta, or Theory

1 My Studies with ˛r• T. Kriß∆am¡c¡rya and Others 4

2 The Story of Patañjali 21

3 What Is Yoga? 30

4 Advanced Yoga 36

5 Mantrayoga 62

6 The Eight-Part Yoga and Its Ten Commandments 87

PART TWO: Yoga Sa-dhana, or Practice

7 Standing Postures 94

8 Supine Postures 126

9 Sarv¡©g¡sana and ˛•rß¡sana 135

10 Prone Postures and the Spine 149

11 Pa≈cimat¡nam 156

12 Padm¡sana and Other Postures for Yoga S¡dhana 165

13 Yogic Breathing Exercises and Their Health Benefits 189

14 Yoga for Women 212

15 Yoga Texts 227

16 Antara©ga S¡dhana 236

17 Freedom 242

©

Glossary 246

Index 260

1Acknowledgments

I WISH TO THANK my wife, Dr. Um¡ R¡masw¡m•, for her encouragement andher help, especially with the technical details of writing this book.

I also wish to state my sincere appreciation and thanks to several people whohave directly or indirectly helped me to teach yoga and write this book. To my sonsPrasanna and Badri, who encouraged me, sometimes like buddies, in the writing ofthis book and in other yoga activities. They have been a great source of joy.

To the late Rukmini Dev• and ˛ankara Menon, former directors of Kal¡kßetraInstitute, and Mr. Rajaraman, its present director, for the opportunity afforded meto teach there for two decades. To the late M. C. Subramanian of the Public HealthCentre for the opportunity to introduce yoga in the hospital. My thanks are due toC. S. Sampath of Public Health Centre Hospital, Professor Janardhanan of Kal¡kße-tra, S. Chitra of Padma Seshadri Schools, and K. Gopalakrishnan for studying thissystem and teaching for more than twenty years. To John Coon, the dynamic direc-tor, and other senior students and teachers of Yoga Center of Houston, Texas, forstudying the viny¡sakrama in depth and teaching in Houston and elsewhere in theUnited States, I am grateful. Many students and their students have helped in thedevelopment of the book by contributing several of their yoga pictures. They rangedin age from ten to seventy-five and comprised schoolchildren, medical students,physiotherapists, a renowned artist/painter, an athlete, classical Bharatnatyamdancers, teachers, corporate executives, and, of course, a couple of yoga teachers.Girija Menon has done exquisite but difficult postures for the chapter on women andyoga. Pam Johnson, Hilary Nixon, and John Coon have portrayed several ¡sanasequences artistically and with vigor. R. Soundrarajan, M. Parvati, and S. Ramyahave done several other yoga sequences beautifully. Others whose pictures appear

C viii

in the book are C. S. Sampath, Jaya Reddy, Jayashree Soundararajan, R. Sowmya,C. Vidya, Maanasaa, A. Yamini, and Prentis Fatherree. ˛r•m¡n Srinivasan ofKrishna Photos shot all the pictures done in Chennai and made special prints of allpictures in this book. To them all, my sincere thanks. To the late ˛r• HarigopalAgarwal for the tremendous enthusiasm, encouragement, and opportunities given tome to teach in the huge free yoga camps conducted for nearly ten years at the yogabrotherhood; to Mr. H. M. Mahesh of Sangeetha and Mr. Murali of HMV for pro-ducing and marketing my audiocassettes; and to M. Gopalakrishnan, my alwaysoptimistic and cheerful cousin, for all his work and support.

To the respected pa∆∂it ˛r• R¡jama∆iji for the opportunity to give introductorylectures on yoga and workshops and classes at the Himalayan Institute at Hones-dale, and also for the great support; to Sandy Anderson, Mary Gail, and Rolf Sovik,and to Nishit Patel and Virat Xavier for offering introductory programs and work-shops and classes in yoga at the Himalayan Institutes in Buffalo, New York, andChicago; to my cousin Dr. Ambujam, my niece Chitra, and other cousins; to Dr. M.Subramaniam and Mr. M. Hariharan; and to Dr. Sundara Gandhi, Dr. SenthamaraiGandhi, Dr. Sundaraman, Dr. J. L. Sarma, and Dr. Sethuraman, many thanks forhosting and helping me talk about this system of yoga to selected groups. To Pro-fessor T. K. Parthasarathy, vice chancellor, and Professor S. Rangaswamy, head ofthe Holistic Health Center, ˛r• Ramachandra Medical University, Chennai, for theirefforts to introduce yoga as a program of optional study for both faculty and studentsof the university, and for the opportunity afforded me to teach there.

My sincere thanks are due also to Kala for the beautiful line sketches she pre-pared; to Sujay¡, a senior teacher of the Kriß∆am¡c¡rya method of yoga, for hercritical input in the writing of this book; to my nephews Dinesh, my Internetprovider, and Kartik, my software consultant, for their ready and sustained assis-tance; and to Professional Touch for their services in having the whole manuscripttyped.

My sincere thanks are due to Dr. Nagalakshmi Narayanan of Osmania Univer-sity, India, for reading through the manuscript and making valuable suggestions,especially in the chapter on Patañjali. My thanks are also due to Dr. Laurel Smithfor her help and suggestions in making useful changes to the manuscript. Again mythanks are due to Ehud Sperling, president, and Rowan Jacobsen, managing editor,Inner Traditions, for their efforts in publishing the book. I am much beholden toCannon Labrie for bringing his vast experience and knowledge of Indology andSanskrit to bear on the editing of the book.

ix D


1Introduction

MORE BOOKS ON YOGA HAVE BEEN WRITTEN in the past twenty years thanever before, perhaps since Vedic times. It might seem that there would be no needfor yet another book on the subject, but I felt that I had something to add to the dis-cussion. My goal is to portray the three aspects of yoga—as art, physical therapy,and philosophy—that are appropriate for the young, for the middle-aged, and forretirees, in that order. The physical therapy aspects are not discussed separatelyfrom various ¡sanas, viny¡sas, pr¡∆¡y¡ma, and chants. It should be mentioned thatthis book is not a substitute for a teacher or a physical therapist; it is written for gen-eral information.

In Yoga Rahasya, N¡thamuni refers to the need to take into consideration theindividual’s stage in life while practicing yoga. The general rule is to follow vƒddhi,sthiti, and laya kramas (methods) during, respectively, youth, midlife, and old age.When one is young, the body is known as deha, because it grows. At that stage oflife, practicing ¡sanas as an art (viny¡sa) is appropriate. The various ¡sanas and themyriad viny¡sas, with proper breathing, help the young person grow (vƒddhi) withgood physical and mental health. This aspect is dealt with extensively in severalchapters in this book.

During midlife, when there is neither growth nor decay (sthiti), the yoga prac-tice would include important ¡sanas with a few viny¡sas, good yogic breathingexercises and bandhas (locks), meditation, mantra chants, and so on. These aspectsalso are covered in this book. In midlife the main requirement is to maintain men-tal and physical health and ward off diseases. This is the stage when one has toachieve results, discharge heavy responsibilities, and make progress in life. As onegets old, when the body is called ≈ar•ra because it decays, yoga practice will be

directed to maintain reasonable mobility, through ¡sana and pr¡∆¡y¡ma practice.The laya krama will consist primarily of intense meditation, along with study of, andreflection upon, the philosophy of Yoga. These aspects, too, are given extensivetreatment.

But the yogi’s life is a long journey to kaivalya, or liberation, and could take sev-eral life cycles to achieve. While ordinary mortals would cherish the desire to defydeath, the yogi wants to defy rebirth. Classical Yoga defines a yogi’s spiritual evo-lution as comprising three stages, or levels, and this book is structured accordingly.

This book follows the thought progression of Patañjali, author of the Yogas¶tras,but it adds material gathered from my guru and from other authentic yoga texts, aswell as from my own understanding of the subject. Chapter 1 is about my studieswith my teacher, Pa∆∂it ˛r• T. Kriß∆am¡c¡rya, and a few other elders. This chaptermay be read first to get a better appreciation of my treatment of the subject. Chap-ter 2 tells the story of Patañjali from folkloric sources, compiled by a Sanskritscholar some three hundred years ago. Chapter 3 discusses the definitions of theword yoga and gives the essentials of some ancient yoga systems. This chapter mayprovide a good introduction for those with a general interest in Indian philosophies,and also for those who have been studying yoga, especially ha†hayoga, for a longtime and who would like to now move on to other aspects of yoga. Mantrayoga isthe subject of chapter 4, and it is treated as part of the kriy¡yoga of Patañjali. Myteacher placed considerable emphasis on chants (p¡r¡ya∆a of the m¶la granthas)and on the study of scripture, and hence I would recommend this to all students ofyoga. Part 1 concludes with chapter 6, which gives all the dos and don’ts for prac-ticing aß†¡©gayoga and is universally applicable to all forms of yoga. In part 2,chapters 7 to 13, different important groups of ¡sanas, along with their variations orviny¡sas and health benefits, are presented in detail.

This book is addressed not to absolute beginners, but to those who have beenpracticing yog¡sanas for some time, or to those who have come to yoga for healthreasons. It should also be useful to ha†hayoga teachers and physical therapists, whoshould know as many viny¡sas on the various ¡sanas as possible so they can designa regimen for their students and those who come to them for help. Viny¡sakrama,the art of linking together related sequences of ¡sanas, brings the entire scope anddepth of ¡sana practice into focus, and if one studies it, it will help the teacher orphysical therapist to tailor a program for the student according to his or her individ-ual needs. In Sanskrit, viniyoga means “individual distribution,” and the teachershould be well equipped with viny¡sakrama in order to give what should be givento whom. Chapters 14 to 16 are for those who want to go beyond ¡sanas andpr¡∆¡y¡ma. Anyone who feels stuck in his or her routine ha†ha practice may findthese last three chapters opening up a different dimension to the practice of yoga.

C 2 Introduction

PA R T O N E

Yoga Siddh -anta,or Theory

1My Studies with Sri.- T. Kris.n.ama-ca-rya and Others

The purpose of life is to understand the meaning of the ≈¡≈tras (scriptures).

——PPaa∆∆∂∂iitt TT.. KKrriißß∆∆aamm¡¡cc¡¡rryyaa

MY FAMILY HAILS FROM A SMALL, picturesque village known as Kari-suzhnda-mangalam (“a serene place surrounded by elephants”) in deep south India.It is situated along the southern bank of the T¡mrabhara∆i River and boasts severalnative sons who were great saints and spiritual scholars. ˛r• N¡thamuni, the famousVaisnavite yogi and the inspirational beacon for my guru, Pa∆∂it T. Kriß∆am¡c¡rya,in the writing of his Yoga Rahasya (Secret of Yoga), was one of them, as was ˛r•Sad¡≈iva Brahmendra, an Advaita yogi of the ˛a©kara school of Ved¡nta whowrote a succint and independent commentary on the Yogas¶tras of Patañjali.

I was born in a Tamil sm¡rta family. Sm¡rtas are those who follow the religiousand ethical codebooks called Smƒtis that were written by different ƒßis (sages) andthat closely adhere to the Vedas. Sage ⁄pastambha’s books are followed by mostfamilies in south India. Our family deity (kula devata) is Lord Venkat¡calapati, the

same presiding deity as in the famous hill temple of Tirumala. My great-grandfa-ther was a priest in the village temple and was himself an up¡saka (worshiper) ofLord Narasimha, the man-lion incarnation of Lord Viß∆u.

My upanayana (thread ceremony or religious initiation) was performed when Iwas nine in the Tirumala hill temple. The brahma upade≈a (Vedic initiation) wasdone by my grandfather, as my father was, at the same auspicious time (muh¶rta),performing an initiation ceremony for my older brother, and thus my grandfatherbecame my first guru. Over a period of about two months, he taught me to dosandhy¡vandanam, the oblation to the sun and other deities performed thrice daily,at dawn, at midday, and at dusk.

One day a few months after my initiation, at about five o’clock in the morning,I heard Vedic chanting in my house. My father, because he was not able to learnVedic chanting (p¡r¡ya∆a) when he was young, having moved in his teens to thecity of Madras for work, had decided to learn Vedic chanting at the young age offorty-five. His teacher was a scholar from the renowned Sanskrit college atMadras. The method of teaching involved the teacher speaking a manageable por-tion of the Vedic mantra that was then repeated twice by the student, followed bythe same process with the next portion, and so on. This would go on for a few days,with maybe twenty-five to thirty portions learned each day, until the student couldperfectly chant a section along with the teacher. In ancient times no books wereused, but in the past one hundred years or so, books with notations of the svara(notes), which make it easier to learn chanting, have appeared. Purists frown on thepractice of learning from such books rather than committing the notes to memory.That morning I quickly performed my ablutions and sat with my father and startedlearning to chant with him. He was well into the chapter on the s¶ryanamask¡ra(sun salutation), which is the first chapter in the Yajur Veda of the Taittir•ya delin-eation, ⁄ra∆yaka (forest chants) portion. We completed it in about six months; thechanting of this chapter normally would take about one hour. Being young (aboutten years old), I was able to listen intently and pronounce clearly all the mantras. Iwas happy doing this exercise, and I still believe that youngsters like to chant. Thislearning of Vedic chanting went on almost every morning for about four years, andby the end of that period we had completed, apart from the s¶ryanamask¡ra, thefive s¶ktas (stanzas); three chapters of Taittir•ya Upanißad and the Mah¡naraya∆aUpanißad, which together from the last four chapters of the Kƒß∆a Yajur Veda; andRudram and Camakam from the Taittir•ya Saµhit¡ of the same Veda. I then hadsome lessons in Sanskrit grammar, Sanskrit being the third language I had to studyin school, in addition to Tamil, my mother tongue, and English.

I was fortunate to go to a school run by the renowned R¡makriß∆a Mission. Evenas I was receiving instruction in Vedic chanting, the school afforded the necessaryatmosphere for religious studies. For a few days every week, in the morning hours, we

My Studies with ˛r• T. Kriß∆am¡c¡rya and Others 5 D

would listen to discourses by a paur¡∆ika (an expert in Pur¡∆a, or Hindu mythology),Kallidaikurici R¡makriß∆a ˛¡stri, on the two great epics (itih¡sas), the R¡m¡ya∆aand Mah¡bh¡rata. In the afternoon, during lunch break, a few of us would gatherfor informal lectures on the Bhagavad G•t¡, given by the principal of the school,Anna Subramania Iyer. Many in south India knew the principal as a great scholarand a devotee of ˛akti. His Friday prayers to the goddess Dev• and the group recita-tion of the Lalit¡ Sahasran¡ma (One Thousand Names of Lalit¡) were wellattended. He translated several Hindu classics, including the 108 Upanißads andPur¡∆ic works such as Dev• M¡h¡tmya (the Glory of Dev•) and the SoundaryaLahar• (Wave of Beauty), for the R¡makriß∆a Mutt, which published them; thesebooks are read by thousands of devotees, even today. In my house, at that time, mymother organized p¶j¡ for M•n¡kß• (the presiding deity of the famous Madurai tem-ple) with the recitation of the Lalit¡ Sahasran¡ma. All other religious functionswere faithfully followed in our house. Frequent homas (fire worship) and p¶j¡s(religious rites) were also conducted at home. I also had yog¡sana lessons in schooltaught by a teacher there. We used to give ¡sana demonstrations on special occa-sions such as parents’ days and other school days.

I went to junior college in 1954. The institution was known as Vivek¡nanda Col-lege, named after the outstanding Hindu spiritual master, and it was also run by theR¡makriß∆a Mission. I studied mathematics, physics, and chemistry, and, of course,Sanskrit.

One afternoon, as I was coming out of class, I saw an elderly man pass by.Wearing a pure white dhoti and the upper loose cloth, he seemed to have an arrest-ing personality. I thought from his looks that he had come to the college to initiatesomeone and perform some p¶j¡. But I was later surprised to find that he was a yogateacher engaged by the college to teach a few interested students. I always thoughtthat yoga teachers wore shorts and were dry, skinny, and hungry-looking—at leastthat was what all the yoga teachers and yogis I had come across looked like.

A few days later, at about 7:30 A.M., the same person came to my house in arickshaw. He was stern-looking. My father received him and took him upstairs tostart some physical therapy lessons for my elder brother. The man left an hour laterand then started coming five days a week. Soon enough, my father and motherjoined the yoga lessons, followed by my sister and myself. He used to teach each ofus different ¡sanas at the same time: inverted postures for me, the desk pose for mymother, a lengthy stay in pascimat¡n¡sana for my brother, and exquisite back-bend-ing ¡sanas and viny¡sas like ußtr¡sana for my little sister. What struck us even onthe first day was the introduction of breathing with the movements, something thatwe had never known. “Inhale with a hissing sound, or exhale with a rubbing sensa-tion in the throat,” he would say in English, even as he would talk to us in generalin his accented Tamil. We all loved those classes. He was known to us in the fam-

C 6 My Studies with ˛r• T. Kriß∆am¡c¡rya and Others

ily as ¡sana v¡dyar (teacher of ¡sanas). One day I learnedhis name was Pa∆∂it T. Kriß∆am¡c¡rya. He would keep onchanging the routine of ¡sanas and pr¡∆¡y¡ma, and eachclass would be different and interesting.

One day, I did not attend the class because of somestomach cramps. As he was going out, he stopped by andasked me why I did not attend. When I said sheepishly thatI had stomachache, he asked me to lie down, checked myn¡d• (pulse), and then examined my abdomen. He then dughis strong fingers and thumbs into the rectus abdominusbelow the navel and gripped the muscles with both hands.He slowly but firmly pulled up the muscles, held them fora few seconds, and then let go. He did that a couple oftimes more and the feeling was very pleasant. I felt thetaut muscles relax, and the cramps disappeared momen-tarily. With a smile he left, asking me not to eat spicy foodfor a couple of days and to take periodically small quanti-ties of gooseberry and ginger. His fingers were thick andfirm, and his touch, sure.

The next four years, I was in Coimbatore for my undergraduate studies in elec-trical engineering. But every summer and during interterm holidays, I used to jointhe group for more yoga classes. It is fun doing very difficult postures, especiallywhen one is young, but I had other interests like playing tennis, acting in stageplays, and so on. He used to correct all the movements, sometimes holding one’slegs or the arms or supporting the body, as in shoulder stand or headstand. At thebeginning of each class he would sit erect in an ¡sana and recite the appropriateprayers. He would repeat this at the end of class. He had a very deep voice, but itwas very pleasant. He had a magnetic personality. Anybody who passed by wouldinvoluntarily turn and take a second look at him, a young, handsome, sixty-five-year-old.

In 1960, after graduating, I got a job in a mining company’s electrical genera-tion plant, about 150 miles from Madras. I had wanted to continue to study with myteacher, but the only way was to find a job in the city itself, and this was difficult.One day I told my teacher that I had to leave Madras. He immediately talked to myfather and suggested to him that he get me a job in Madras. My father was a lead-ing stockbroker who had helped in the formation of a few industrial undertakings.Soon enough, I got a junior-level job in a company that was manufacturing motor-cycles.

During this period, only my father and myself from our family were studyingwith him. My job required that I be at the factory at 7 A.M. and I needed to catch the


˛r• T. Kriß∆am¡c¡rya in his nineties

Phot

o by

the

auth

or.

factory bus at 6 A.M. ˛r• Kriß∆am¡c¡rya by then had many more students, and hehad asked us to come to his house for the classes.

We knew that ˛r• Kriß∆am¡c¡rya used to be up at 2 or 3 A.M. to do his yoga prac-tice and his p¶j¡, and used to be in his room to receive his first student at about 7A.M. It was then decided that both my father and I would be at his home earlyenough to have an hour-long class. So we used to get up at 4:00 A.M., have a bath,and drive to his home by 4:45. After an hour’s class, my father would drop me at thebus stop by 6 o’clock and return home. Every morning for six days a week we wouldbe at his house at the appointed hour, when, having completed his morning work-out, we would find him ready and waiting for the early-bird students. God knowshow he managed to do it all.

Proper breathing was given equal or more importance than the postures. After afew viny¡sas, if a student appeared to be tired or having difficulty breathing, ˛r•Kriß∆am¡c¡rya would ask him to lie down and rest, during which time the studentwould be asked to follow the breath rather than allow the mind to wander. Some-times he would recite a passage from the R¡m¡ya∆a or Mah¡bh¡rata, or anothergreat work, and explain an idea or two. “Anabhy¡se vißam vidy¡,” he would sayand then explain the meaning: Anything one studies must be put into practice or elseit will produce undesirable results. Never did I hear him discuss politics or indulgein small talk. He was always kind and pleasant, and would inquire occasionallyabout the welfare of family members but never say anything flippant. It wouldappear that his mind was always attuned to imparting his vast knowledge of the≈¡stras and the tradition to which he proudly belonged.

The early-morning classes went on for about a year before I left to attend Okla-homa State University for graduate study in industrial engineering and manage-ment. I returned home in 1962, after completing the requirements for a master’sdegree. I had the option, like many other Indian students, to go on for a Ph.D. or takea job in the United States, but I decided to return home, as I was convinced morethan ever that I wanted to continue my studies with my teacher. Looking back, I feelthat this was one of the best decisions I have ever made. It would have been ashame if I had not made use of this God-given, golden opportunity.

My studies became more intensive, and I learned more viny¡sas and ¡sanas.Sometime in 1965, about ten years into my studies with him, it was decided thatsome of his long-term students should learn more theory and study the original texts.He started sv¡dhy¡ya, or Vedic recitation. Even though I had done quite a bit ofVedic chanting when I was young, I resumed chanting classes with him. His chant-ing was clearer and slower. He would not put up with even minor mispronunciationsor mistakes in the svara (notes). Once again I started with the Taittir•ya Upanißadand the Mah¡n¡r¡ya∆a Upanißad, which are the last four chapters of the Kƒß∆aYajur Veda. One day ˛r• Kriß∆am¡c¡rya explained the last portion of ≈ikß¡ valli (on


Vedic chanting) of the Taittir•ya Upanißad and the interesting paragraph containingwhat may be termed a convocation or commencement address (anu≈¡sana) of theteacher to the graduating (s¡mavartana) students. He suddenly looked up and saidto me, “You have studied English.Why don’t you translate this para-graph, make copies, and distributethem to as many people as youcan?” I did the translation and gotit printed with some money I hadand distributed it free to as manyof my friends as possible. I do notknow how many read it, but I washappy at that little exercise. Itslowly dawned on me that he wasnot just another ¡sana teacher, butalso a great scholar of our scrip-tures. As we chanted, he mightstop in the middle, explain a fewpassages or mantras, and go on. InIndia, many people who chant(there are exceptions) do notalways know the meaning of what they chant, so it was a great revelation to me thatI had stumbled onto an ¡c¡rya without even having made an attempt to find one.Who could be luckier?

My mother, who was married at the age of fourteen and had lost her motherwhen she was a child, was a very religious person. Her daily routine included clean-ing the p¶j¡ room, lighting the lamp in the morning and at dusk, and doing p¶j¡,prayers, and meditation. She observed festival p¶j¡ rites scrupulously. She was anardent devotee of the divine Mother, and every Friday she would perform p¶j¡ forthe goddess M•n¡kß•, with the Lalit¡ Sahasran¡ma performed by family priests inour home. My mother also started taking specific vratas (religious vows), and shemade my father perform several Vedic functions in our home. In short, there wassome religious activity or other taking place in our house all through the year.

When we were children my mother also used to tell us religious stories (likemost mothers did in India), and we were quite familiar with Hindu mythology. Shegave me, when I was very young, children’s books on the Mah¡bh¡rata, R¡m¡ya∆a,and Bhagavad G•t¡, three monumental works. She had a steadfast belief in thegrace of the divine Mother. Additionally, my paternal grandmother was a voraciousreader of the original Pur¡∆as written in Tamil, which she read aloud and to whichwe children used to sit around and listen. In addition, my parents quite often took us


The author with ˛r• T. Kriß∆am¡c¡rya, 1968

to religious discourses on the great epics and Pur¡∆as, which contain many educa-tional and morally uplifting stories and which form the bedrock of Hindu dharma, orlaw of piety.

One day ˛r• Kriß∆am¡c¡rya said that we would begin study of some importanttexts in order to reinforce our understanding of yoga. He started with the Yogas¶trasof Patañjali. First we learned how to chant the s¶tras and then took up the meaningof the words. To explain the s¶tras he referred to the commentary of Vy¡sa. As apracticing yogi, his explanations of the s¶tras were lively and very profound. Simul-taneously, I started reading the commentary on the Yogas¶tras written by ˛r•Sad¡≈iva Brahmendra and the vivara∆a (elucidation) by ˛r• ˛a©kar¡c¡rya onVy¡sa’s commentary. I should confess that by then I had started getting into study-ing independently some of the preliminary works (prakara∆a grantha) of ⁄di˛a©kara. Being from deep south India, our family was affiliated with the ˛a©karaMa†h of ˛r•ngeri. I had dar≈an of the ˛a©kar¡c¡rya of ˛r•ngeri during my visits tosouth India. During one of the visits of the ¡c¡rya, my father invited him to visit ourhome and bless us all. It used to be the custom to invite great sanny¡sis (spiritualmendicants) to visit one’s home, host them, and pay homage to them. It was a greatexperience to watch the ¡c¡rya perform p¶j¡, and also hear him speak about Hindudharma in general and Advaita philosophy in particular. After listening to him, Ibecame more interested in Advaita literature. The ˛r•ngeri Ma†h had at that timeundertaken to translate into Tamil and publish the great Sanskrit works of ⁄di˛a©kara on Advaita, such as his Aparokßa©ubh¶ti (Direct Experience of the Self),⁄tma Bodha (Knowledge of the Self), and so on. My father subscribed to them, andover the course of a few years these books, about twenty-eight in number, arrivedone by one, and I studied them very closely. Fortunately, a friend of my father’s, ˛r•S. V. Harihara Iyer, who was about forty years older than I, worked near my office,and almost every day, during lunch hour, I used to ask him questions on the tran-scendental nature of Advaita. He himself had attended several lectures in the early1930s and 1940s given by the renowned pontiff of K¡nc•puram, the ˛a©kara Ma†h,who was param¡c¡rya (the highest teacher). He helped me understand many intri-cate questions contained in Advaitic parlance and explained and helped me recon-cile many apparent contradictions.

Thus, even as I was engrossed in the Yogas¶tras, I was studying with equalinterest the Advaita works of ⁄di ˛a©kara. This helped me to make a comparativestudy of the two important sister philosophies derived from the Vedas. Further, Ialso found that since my teacher was a staunch Vaiß∆avite, there was a definite ori-entation toward theism in his teaching of the Yogas¶tras, whereas ⁄di ˛a©kara’scommentary on Vy¡sa’s commentary on the Yogas¶tras tended to highlight thecommon features of the purußa (individual soul) and °≈vara (the supreme soul) andhence their identity. One could see what great thinkers the earlier ¡c¡ryas were.


At the rate of two or three classes per week, it took nearly two years to gothrough the whole of Vy¡sa’s commentary. ˛r• Kriß∆am¡c¡rya would explainevery word in the commentary, give the etymological derivation, quote exten-sively from other texts and narratives, and give examples that were entirely tradi-tional, often with some unusual insights. As a rule I never asked him questions, buton one occasion when I asked a question without much reflection, he was clearlyannoyed and told me bluntly that I was not being attentive. I soon realized that mymind had wandered while he was lecturing. Thereafter, if I had any doubt, I wouldkeep it to myself, and sure enough the explanation would come in another session,but come it would. As ˛r• Kriß∆am¡c¡rya lectured, his eyes would be closed, butoccasionally he would open them and stare at the attentive student in front of himwith his penetrating gaze. Day after day I would attend private class and returnhome very happy. There was always something new or unusual he would say eachday. I never would interrupt him, for the flow of his words were like honey—sweetand continuous. Whenever he was teaching from a text, it would be wonderful. ButI also found that when he gave a general talk in public to a more heterogeneousaudience, he tended to go off on tangents, skipping from topic to topic, because hewanted to cover a lot of ground within a short period of time. He would visit ourhome on special occasions at the invitation of my parents and spend some timetalking to all of us. He was the chief guest at the function arranged to celebrate thesixtieth birthday (≈aßtiabdap¶rti) of my father in 1968. During the evening recep-tion, to an audience of two hundred strong, he gave a talk on Hindu dharma, whichwas well received.

Along with my study of theYogas¶tras, I continued to takechanting classes. Again we took upthe chapter on the S¶ryanamask¡ra(sun salutation), the largest in theYajur Veda, and every Sunday Iattended his joint chanting session,which took about an hour. His pro-nunciation was clear; the flow,effortless. I never failed to feel asense of peace and satisfactionafter one of those sessions; Godknows how many Sundays we didthis chanting.

The next chapter we learnedto chant was the one on sv¡dhy¡ya,which contains kußm¡∆∂a homa


˛r• T. Kriß∆am¡c¡rya being received by ˛r• H. Subramaniam, the author’sfather and Kriß∆am¡c¡rya’s student, on the sixtieth birthday of

Mr. Subramaniam in 1968

mantras. This chapter follows the s¶ryanamask¡ra chapter and takes about thirty-five minutes to chant. It exults the greatness of the g¡yatr• mantra and Vedic chant-ing in general. We also completed the following chapter on caturhotra, which startswith the mantra citti sruk, and the next two on pravargya and pravargya br¡hma∆a,respectively, which take about two hours between them to chant. Then we learnedthe three chapters of Taittir•ya K¡†haka, the chanting of which takes about twohours. As the years rolled by, my studies with ˛r• Kriß∆am¡c¡rya were more open-ended—I let him take care of me and he did, thank God, like a cat takes care of itskittens.

His method of teaching Vedic chanting consisted of dividing the mantras intosmaller, more manageable portions, so that when he spoke the mantra, the studentwould be able to hear and say it twice, correctly and with the correct note (svara).In one sitting, a fifteen-minute passage would take about an hour, allowing time forthe gaps between repetition and correction. This process would be repeated for anumber of days, and when the teacher was satisfied, the entire passage would bechanted by teacher and student together another five to ten times. Then we wouldmove on to the next portion. Chanting is an integral part of yoga. Sv¡dhy¡ya is aVedic word used by Patañjali in both kriy¡yoga and aß†¡©gayoga. Among otherbenefits, chanting also helps one’s breathing and concentration. My teacher used tosay that since each Sanskirt syllable is connected to a different cakra, the Vedicmantras were designed in such a way that auspicious vibrations are produced in thevarious cakras when one chants Vedic passages. Also known as Veda p¡r¡ya∆a,this practice is considered a sacred part of any religious activity and yoga practice.

˛r• Kriß∆am¡c¡rya also started teaching us to chant a chapter called “Ek¡gniK¡∆∂a,” which contains mantras for upanayana (Vedic initiation) and vivaha (wed-ding). He explained the meaning of the vows, prayers, and rituals in great detail. Healso explained that sanny¡sa, or the life of a renunciate, is neither desirable noreven possible in the Kali Yuga. That being the case, except for a very small num-ber of people, nobody can choose to remain unmarried. The Veda and its relatedSmƒtis say that marriage is a necessary saµsk¡ra (cleansing ritual) for the individ-ual. The scriptures do allow for a few, who, remaining in gurukula (a guru’s house),being absolutely desireless and having complete control over their senses, to remaina naiß†ika brahmac¡ri (absolute bachelor) all their lives and then attain salvationwithout going through the other stages of life. According to M•m¡µs¡, which is oneof the six dar≈anas (Vedic expositions), remaining a bachelor is permitted only inthe case of one who has the temperament and physical capacity to maintaincelibacy in the stictest sense, and anyone who does not meet this requirement hasno option to remain unmarried. ˛r• Kriß∆am¡c¡rya would be very disparaging aboutinstitutions or religious practices where a large number of people take to the celi-bate life, say, in an ¡≈ram or a monastery-like setting. And to attain salvation, he


would say, celibacy was not an absolute necessity; one can, if one matures spiritu-ally, take to sanny¡sa after leading the life of a householder and discharging one’sduties to one’s family, one’s forefathers, and society at large. Soon enough, I gotmarried, and, touch wood, I have remained happily married to date.

I had not entertained any idea of teaching myself, being perfectly happy to con-tinue my studies. My desire to study with that ocean of knowledge and experiencecontinued unabated. So in 1967, when I was selected to do a two-year graduate pro-gram at the Harvard School of Business—after considerable deliberation—Idecided to forgo that opportunity. By then I had joined my father’s business, both tomake a living and to ensure that I would not be required to leave Madras, whetherfor travel or work, so that I could continue my studies with my teacher.

At this time, in order to prepare me to be a teacher, ˛r• Kriß∆am¡c¡rya said thatI should start studying other, sister philosophies. A series of Upanißad studiesstarted in earnest even as I was attending regular practice classes on pr¡∆¡y¡ma,¡sana, and chanting. I started having more classes every week. There were periodswhen I would have two sessions in a day, one in the morning on practice and theother in the evening on theory. First we took up the M¡∆∂¶kya Upanißad, whichgives an esoteric interpretation of the pra∆ava syllable (OM), the only mantra men-tioned in the Yogas¶tras. I simultaneously started private study of the classic com-mentary on the same Upanißad, which is along the lines of Advaita philosophy,Gau∂ap¡da’s M¡∆∂¶kya-k¡rik¡ (in which aspar≈ayoga is explained). It was a greatrevelation to study the different approaches to the same Upanißad.

For several years thereafter, I had the privilege of studying other Upanißads togain a better understanding of Ved¡nta, in addition to learning more about yoga.We studied sad-vidy¡ (study of the essential being) from the Ch¡ndogya Upanißadof the S¡ma Veda, one of the ten best-known Upanißads. This contains the greatsaying (mah¡v¡kya), “Tat tvam asi” (“That you are”), which vakya itself is inter-preted differently by the three renowned schools of Ved¡nta, Advaita,Vi≈ißt¡dvaita, and Dvaita. We also studied bh¶ma vidy¡ (the study of the greatest)from the same Upanißad. The Upanißads, through different vidy¡s (skillful study),explain the same ultimate truth from different viewpoints, answering different ques-tions arising in different minds at different times. All students who study yoga as adiscipline would do well to study other dar≈anas, especially Ved¡nta, and studentsof Ved¡nta would appreciate Ved¡nta more if they studied its sister philosophies,such as S¡µkhya, Yoga, and so on. ˛r• Kriß∆am¡c¡rya had mastered all theseVedic philosophies, as could be seen from the various titles and diplomas he hadreceived from respectable institutions: Ny¡y¡c¡rya, S¡µkhya Siroma∆i, Ved¡ntaVag•sa, Yog¡c¡rya, Vedakesari, are some of the titles he had been given in recog-nition of his scholarship.

As I mentioned before, I had never thought of teaching. So when it was suggested


that I could start teaching, with the blessings of my guru I took on a few patientswith bronchial asthma who were referred by physicians in the nearby hospital. Theirtherapy consisted of yoga ¡sana viny¡sas for the auxiliary chest muscles, slow anddeliberate ujj¡yi breathing, and in some cases a gradually introduction to vipar•takara∆• (inverted postures) with varied degrees of assistance. The preferred trainingperiod was during the summer months, when the attacks were at a minimum. Ilearned that most of the people I taught showed considerable reduction in the fre-quency and severity of their attacks in the following year, especially if they contin-ued with the yogic exercises. Many expressed a better sense of well-being, andsome even started learning more ¡sanas and breathing routines.

But I could never take to full-time teaching. Except for a very few, yoga teach-ers in India in those days—and even now—had a very difficult time making bothends meet. The pecuniary needs of my family were taken care of by working in myfather’s office. I decided to teach during my spare time—late evenings, early morn-ings, and on holidays and weekends. Teaching would help me clear my mind andallow me to study a subject from various angles.

Kal¡kßetra is a renowned institution of Indian arts, founded by Mrs. RukminiDev•. One day I was directed to meet her, and what followed was a twenty-yearassociation with the institution. I started teaching yoga for about a dozen people,half of whom were dance teachers. The others were senior bharatan¡tyam (dancedrama) students. Kal¡kßetra is a college of arts (now a university) teaching classi-cal bharatan¡tyam and kathakali, another form of native classical dance, separate

from Carnatic music. I used toteach about twice a week. Theclasses would run from 6:00 A.M.to 7:00 A.M., and I used to leavehome by 5:30 A.M. Being dancers,my students were very supple,sensitive, and graceful, and it wasa great pleasure and a uniqueopportunity to teach them, eventhough their breathing requiredmuch work in order to do thesequences called for inviny¡sakrama yoga. In a fewyears, yoga was included in thecurriculum and all the studentswere obliged to study it.

One day I told my teacher thatI had been teaching the students


The author (back row, second from right) with Rukmini Dev• (third fromright), founder-director of the Kal¡kßetra Institute, and the institute’s

first group of yoga students

what I had learned from him, which, by and large, was what was required of me.He had taught me several ¡sanas with many viny¡sas that, while quite useful to mein my own practice, I felt I was not doing full justice to in my own teaching. Someof the students were so good that their potential was not being brought out. When Iexpressed my views that as a teacher I needed to have a deeper understanding andknow a wider range of ¡sanas, he smiled.

Then he gave me more in-depth instruction in the viny¡sakrama way of doingyog¡sanas. Step by step he showed me all the variations in each of the main pos-tures, the order in which the various viny¡sas could be strung together, and the typeof breathing to accompany each movement. It took several months to learn all theviny¡sas, or at least all those that he taught me. This method of doing ¡sanas is mostappropriate for youngsters and is an important part of vƒddhi or ≈rußtikrama, themethod of practice for youngsters. I also knew that even though my teacher wasteaching me on a one-to-one basis, in his earlier years he had taught yoga in groups.Every teacher should learn the viny¡sakrama, especially when teaching children. Itbrings out the art form of yoga, which is considered one of the sixty-four ancient artsof India. Furthermore, when one learns the viny¡sakrama, one will be able to pickand choose some of the appropriate viny¡sas and string them together, so that theadapted version can be tailor-made to individual conditions, be it for an elderly per-son or for someone who requires yoga for physical therapy.

Once in a while, ˛r• Kriß∆am¡c¡rya used to say that we should all spread≈¡str•yayoga (traditional yoga), as many unsavory practices were creeping in. Someof his better-known students had started spreading his yoga far and wide, and yogastudents and teachers started taking a deep and critical look at his system as it wastaught by his students. There are significant differences in approach among manyof his disciples who became teachers. It is hard to explain, but then he taught dif-ferently to different people (as I could vouch from what I have seen among my ownfamily members), taking into consideration the temperament, requirements, andcapabilities of each person. This is what was unique about his system—that is, hiscapacity to tailor programs to his students, which was made possible because of hisvast experience and deep understanding of the traditional Vedic philosophies.

I soon started offering several free yoga programs with the blessing of myteacher, even though he frowned on the idea of teaching for free. For about sevenyears, I did these yoga camps for the Yoga Brotherhood, which took care of all thearrangements including publicity. The large hall where I taught, which couldaccommodate more than one hundred people doing yoga, was given free by theG•t¡ Bhavan or the AVM charities, and I taught the class with the help of a few ofmy students from Kal¡kßetra and the Public Health Centre, a charitable hospitalwith about one hundred beds. I was also teaching at the health center as part of thehospital’s efforts to promote health using a traditional, indigenous system.


I continued my studies with ˛r• Kriß∆am¡c¡rya, both on practice and on theory.We plunged into study of pan÷c¡gni vidy¡ (five fires or five transformations) of theindividual self between death and birth from the Bƒhad¡ra∆yaka Upanißad, as wellas the Pra≈na, Mu∆∂aka, and Kena Upanißads. The first eight s¶tras of the BrahmaS¶tras (on Ved¡nta) were also covered in great detail. My teacher even volunteeredto teach the Brahma S¶tras, according to the Advaitic interpretation. We alsoworked through the ˛vet¡≈vatara Upanißad and Ha†hayogaprad•pik¡. The study ofall of these works took several years to complete.

For a better appreciation of the Yogas¶tras, we then took up, in some detail,one of the most clearly written works and a classic in Sanskrit literature—theS¡µkhya K¡rik¡. This masterpiece describes the S¡µkhya system of philosophyon which yoga heavily relies. I feel strongly that a better appreciation of theYogas¶tras becomes possible by the study of the S¡µkhya K¡rik¡ and the com-mentaries of Gau∂ap¡da and V¡caspatimi≈ra. Patañjali’s Yogas¶tras presupposean understanding of the essentials of S¡µkhya. In the meantime, with the blessingsof my guru, I also started contributing articles on yoga ¡sanas and other systems ofphilosophy to some Indian journals both in Tamil and in English. In all, I wroteabout fifty articles.

My own private practice boiled down to about a half hour of vy¡y¡ma (¡sanasand pr¡∆¡y¡ma), followed by a half hour of Vedic or other chanting, which I usedto do in our p¶j¡ room. One day our neighbor, Mr. Jayaraman, husband of Mrs. VaniJairam, a renowned singer, was sitting in the drawing room waiting to meet myfather. As I came out of the p¶j¡ room, he said that my Vedic chanting was verypleasing and clear. This strengthened my desire to make a recording of theYogas¶tras, as at that time a number of yoga students were becoming interested inchanting the Yogas¶tras as part of their yoga studies.

A couple of my friends volunteered to talk to some audiocassette producers.When I finally got my recording of the Yogas¶tras heard by a leading recordingcompany, the producers said that they were satisfied with the rendition, but becauseI was an unknown entity, marketing would be a problem. It was suggested that I tryto do a few programs for the national radio network, All India Radio.

At that time television had not made much headway into the countryside, andthe smaller towns and villages were still served by radio. After some effort, I man-aged to get a fifteen-minute program in AIR’s Sanskrit slot in which I discussed andrecited a few of the Yogas¶tras.

Before going into the studio, I told ˛r• Kriß∆am¡c¡rya about the program andasked him if he would like to listen to the tape I had made. He asked me to closethe door and play the tape. He listened to it intently and said that it was clear andnice and blessed me with a beaming face. Naturally, I felt elated. The program waswell received and led to further programs in Sanskrit on various topics, such as


pr¡∆¡y¡ma, Upanißad k¡vya (literature), the S¶ryanamask¡ra, ¡sana practice,ha†hayoga, wedding mantras, and the story of Patañjali. My teacher encouraged mein preparing for several of the radio programs and also other talks I was invited togive. In fact, he would even dictate part of the text for some of these talks. For theone on Upanißad k¡vya, he composed a masterly survey in Sanskrit, tracing theUpanißadic tradition from Vedic times up through the Pur¡∆as, the Smƒti, the S¶tras,and into the modern period; it was an outstanding essay.

About three years later, a fledgling recording company agreed to record andrelease a cassette entitled Yoga of Patañjali and ⁄di ˛a©kara, which contained asynopsis of all four chapters of the Yogas¶tras as well as chanting and a renditionof ⁄di ˛a©kara’s Yoga Taravali. Because of the general interest in the Yogas¶tras,I thought that it would be well received, but it bombed. I offered to make good onthe losses to the producer. But he in turn offered to do another program. He hadreceived positive feedback about my rendition and thought that things might turnout differently with a more popular topic. He asked if I would record a recitation ofthe Lalit¡ Sahasran¡ma from the Brahm¡∆∂a Pur¡∆a. Though this particular versionof the Sahasran¡ma used to be performed by my mother, I was not familiar with thetext. I took a couple of months to study it and then recorded the whole text. It metwith good reception. Because of the chanting training I had received from my guru,˛r• Kriß∆am¡c¡rya, the rendering was unhurried and clear, which made it easy forlisteners to follow the text and be able to recite it by themselves after listening tothe tape a few times.

I was able to record almost all of the Vedic chanting I had learned from my guru,including the S¶ryanamask¡ra (together) with Varu∆ap¶j¡, which ran for ninety min-utes and was one of the earliest, and the ⁄ditya Hƒdayam from the R¡m¡ya∆a andthe Sv¡dhy¡ya Prakara∆a (the chapter on Vedic chanting and kußm¡∆∂a homa). TheTaittir•ya Upanißad, which is one of the earliest chants taught and an Upanißad thatgives the definition of Brahman and discusses shades of bliss and ultimate bliss, wasanother important work. The Mah¡n¡r¡ya∆a Upanißad, the last chapter of YajurVeda, containing the mantras recited daily, like sandhy¡, pr¡∆¡y¡ma, and so on, wasalso released, as was the a≈vamedha, the famous mantra recited during the highestVedic rite, and which ran for three hours. The third chapter in Taittir•ya ⁄ra∆yaka,along with ˛iva Kavacam (Protection by Lord ˛iva), was yet another popular sub-ject. I also recorded and released several other Pur¡∆a and Smƒti works in Sanskritthat are regularly recited by Hindus. They included the sahasran¡ma of all the deitiespopularly worshiped, such as Viß∆u, Subrahama∆ya, ⁄ñjaneya, R¡ghavendra (asaint), Ga∆e≈a, and Hariharaputra, in addition to the seven-hundred-stanza work onDev•, the Dev• M¡h¡tmya (in three volumes) from the M¡rka∆∂eya Pur¡∆a, all ofwhich texts form part of the yoga of worship (mantrayoga).

I also released a recitation of the five-hundred-stanza work called the


Mukapanca≈ati on the goddess K¡m¡kß• of K¡nc•puram. The param¡c¡rya,˛a©kar¡c¡rya of K¡nci Ma†h (who lived for one hundred years), listened to the cas-sette and blessed me with a shawl. These readings, which run for three hours, con-tain an introduction by the present ˛a©kar¡c¡rya of K¡nci Ma†h, ˛r• JayendraSarasvat•. The Bala R¡m¡ya∆a (History of Lord R¡ma), a classic of over two hun-dred verses, is a condensed version of the whole of the R¡m¡ya∆a, the text taughtto beginning students of Sanskrit in schools in India. It also contains an introductionby the K¡nci pontiff. In all, twenty-five cassettes were released on many Hinduclassics that are normally used for p¡r¡ya∆a (chanting or prayer). I have also com-pleted the recording of the Sundara K¡∆∂a, the fifth chapter of the V¡lm•kiR¡m¡ya∆a. This work, which contains about three thousand verses (including thecoronation of ˛r• R¡ma in Yuddha K¡∆∂a), is contained in a set of ten, one-hourcassettes. Sv¡dhy¡ya, or chanting, is an important aspect of the kriy¡yoga andaß†¡©gayoga of Patañjali. In the course of my training, my guru spent perhaps asmuch time on chanting and theoretical studies (sv¡dhy¡ya) as on the physicalaspects of yoga.

During the early years, ˛r• Kriß∆am¡c¡rya used to quote often from the YogaRahasya of N¡thamuni, many of which quotes I noted down. For instance, he quotedthe following passage to emphasize the importance of finding means for contracep-tion and family planning (mit¡ sant¡na). This sloka, P¡≈¡sanam yoganidr¡ garb-hapi∆dañca bhadrakam | Matsyendr¡san¡khyete, sarva garbha nirodhak¡˙, mentionsthe ¡sanas (noose posture, yogic reclining posture, fetus posture, auspicious posture,kingfish posture) that prevent conception. But when I asked him where the text wasavailable, he said with a chuckle that it used to be available at Sarabhoji M¡h¡raja ofTanjore and that he had seen the text, which was written on palm leaves and kept inan ivory box. He even suggested that I write to the Sarasvat• Mahal library in Tan-jore and ask for a copy. I did write to them, and received a reply that no such textexisted. I subsequently learned from a Vaiß∆avite friend that N¡thamuni had intendedto transmit the knowledge of yoga, the Yoga Rahasya (Secret of Yoga), to his grand-son, but he passed away before he could do so. I sort of figured out that Yoga Rahasyawas the work of my own guru, inspired by his up¡sana (devotion) to N¡thamuni. Thework contained several of the instructions ˛r• Kriß∆am¡c¡rya used to give whileteaching yoga. But there were variations in the same slokas, when he quoted them ondifferent occasions, which is further evidence that Yoga Rahasya may have been themasterpiece of my own guru, inspired by tradition and devotion.

In the early days of my studies, I accompanied ˛r• Kriß∆am¡c¡rya to severaltemples. I remember vividly our visits to temples of ˛r• R¡ma at Madurantakam,Tiruvallur, Sƒperumpudur, K¡nc•puram, and others. He climbed the steep steps atSholingar for almost an hour to reach the shrine of Lord Narasiµha. He was alwaysrespectfully received by the temple authorities, and visitors to the temple would pay


their respects to him in the tradi-tional way.

During the last four or fiveyears of his life, from 1985 untilhis death, my visits to him becameinfrequent, as he was exception-ally busy and much sought afterby scholars from abroad and fromwithin India. His movements alsobecame rather restricted due to afall. He managed to overcome theproblem to some extent and wasable to sit up for long hours toinstruct his disciples. I again wentto him for lessons in 1988, a yearbefore he passed away. He gaveme voluminous notes in Sanskrit on some of the Upanißads, marriage mantras, andother subjects, but most of our time together was spent in chanting various Vedictexts. Sometimes he would even lie down in bed and recite from memory, while Ifollowed with the help of a book. One morning when I went to see him, he was sit-ting up in bed and preparing for his daily p¶j¡, the icons in position in front of himon the table. He was applying tiruman (holy dust) to his forehead with all the careand attention in the world. For ten minutes I watched him doing the p¶j¡, totallyconcentrated, absolutely oblivious to my presence at his doorstep. He was concen-tration and devotion personified while doing p¶j¡ alone at the age of ninety-nine.One could feel the depth of his faith and devotion.

One day as we completed a session, I heard him, at least I thought I heard him—perhaps I imagined it—say that I should try to become like him (yenna mathirivaranum). I was choked with emotion as I walked out of his room. Thereafter, Istopped going for his classes, since there was a lot of activity with his centenaryapproaching—TV crews, journalists, biographers, scholars, foreign yoga experts,publicity people, and several others were all over his Spartan little abode.

One morning I heard that he was seriously ill, and I went to see him with my par-ents. He was attended by some of his senior students. When later that afternoon Iheard that he had reached the lotus feet of the Lord (⁄c¡rya Tiruvadi), we wentagain to pay our last respects. Appropriately, on his chest were the sandals (p¡duk¡)of the icons he had worshiped. I felt a lump in my throat; I had enjoyed a long asso-ciation with him. Although I was not intimately close to him, there was always anundercurrent of goodwill and affection. Ours was the optimum student-teacher rela-tionship for more than three and a half decades.


˛r• T. Kriß∆am¡c¡rya, age ninety, in the room where he taught yoga forseveral years. (Photo by Professor T. Radakrishnan)

At sixty, one tends to look back rather than forward. One thing that appealed tome throughout my studies with him was his unshaken faith in, and devotion to, Godand the authenticity of the ≈¡stras (scriptures). One day he would ask a question,“What is the purpose of life?” He himself would answer, “The purpose of life is tostudy the ≈¡stras, understand their meaning, and abide by it.” I was drawn to him andcontinued to study under him for perhaps longer than anyone outside of his family,because one feels the confidence and conviction that the ≈¡stras are authentic in thepresence of his transparent sincerity. In hearing him talk and explain the texts or doyoga, one got the feeling that he was 100 percent genuine and brutally honest. Withhow many gurus can one get that feeling?

I was fortunate to stumble onto a guru like ˛r• Kriß∆am¡c¡rya. Would younot agree?


2The Story of Patañjali

“My prayers to Patañjali, hailing from a family of sages, who byhis work on yoga, grammar, and therapy, helped mankind

eradicate defilements of mind, language, and body.”

——SSaannsskkrriitt pprraayyeerr

PATAÑJALI WAS A Ï◊I, a word that means “one who sticks to truth” (ƒßaya˙satyavacasa˙ and ƒtey °ßa∆¡t ƒßi˙). The Amarko≈a, a thesaurus of Sanskrit roots,says that ƒßis and truth speakers are synonymous. A civilization is at its best whenthe people enjoy good health, express themselves well and meaningfully, and haveclarity of thought. Bhartƒhari, a great Sanskrit grammarian and philosopher, empha-sizes the need for purity in the three human activities (k¡ra∆a): mind, speech, andbody (mano, v¡k, and k¡ya).

Mahaƒßi Patañjali is believed to have written treatises on these three subjects,and evidence for this can be found in eulogies about him in ancient Sanskirt litera-ture. Legend has it that once people suffering from the corruption of the above-men-tioned k¡ra∆as prayed to °≈vara (the Lord) for guidance. In response to theirprayers, °≈vara sent ⁄di≈eßa, the divine serpent king, to incarnate as Patañjali, whothen wrote three important texts—on medicine (cikits¡), on Sanskrit grammar(p¡da), and on mental health (yoga).

Patañjali’s yoga treatise is written in cryptic statements and contains four

chapters (p¡da). Being written by a grammarian, the s¶tra-like (aphoristic) lan-guage of Patañjali is of a very high order and his choice of words immaculate.Patañjali’s yoga system, complete unto itself, shows the place and practice of manysubsystems such as jñ¡na (wisdom), bhakti (devotion), karma (action) kriy¡ (purifi-cation), ha†ha, and mantra yogas. An authentic commentary on the s¶tras was writ-ten by the sage Vy¡sa, believed from time immemorial to be the author of theBrahma S¶tras and also the compiler of the Vedas. Further elucidations have alsobeen written by such well-known commentators as ˛a©kar¡c¡rya, V¡caspatimi≈ra,R¡jabhoja, and S¡d¡≈iva Brahmendra. Sw¡mi Vivek¡nanda also has written adetailed commentary on the Yogas¶tras.

About Patañjali, an outstanding devotee of Lord ˛iva, and an incarnation of⁄di≈eßa (on whom Lord Viß∆u rests), there are several references in many ancientworks. Only a few, however, give his life story, and of them, only R¡mabhadraD•kßita’s Patañjali Caritra is written with Patañjali as the main character (n¡yaka).Composed in the style of the great poet (mah¡k¡vi) K¡lid¡sa, this Sanskirt work isconsidered a mah¡k¡vya (a great work of literature). When comparing referencesto Patañjali in other works, there are a few differences. But written with great poeticbeauty and artistry, this work tells, in coherent fashion, the life story of Patañjali.Let us see the drama unfold.

The Lord, with his bewitching smile, is resting on ⁄di≈eßa, floating on themilky ocean. The Lord’s incarnations as Matsya (fish) and K¶rma (turtle) havebeen completed. The milky ocean has been churned, and the unique, pricelessobjects, such as the Air¡vata (the white elephant of Indra), have come out of theocean, and Mount Mandara, which was used to churn the milky ocean by thedevas and asuras using V¡suki as the rope, has been put back in its original posi-tion. The various creatures in the mountain, such as the serpents—the garlands ofLord ˛iva—drink the milk remaining in the crevices and caves of Mount Mandaraand are ecstatic.

All of a sudden, Lord Viß∆u’s weight rapidly increases. ⁄di≈eßa, as the couch ofthe Lord, struggles to maintain his balance owing to the increased heaviness of theLord; he breathes heavily through his thousand hoods. Sanatukm¡ra the nity¡s¶ri(who permanently directs his gaze toward the Lord) himself is disturbed and with-draws a little from his usual fixed position. Garu∂a, the divine aerial vehicle ofViß∆u, moves toward ⁄di≈eßa to help him out, offers him a word of encouragement,and asks about the cause of this sudden change in the weight of the Lord. ⁄di≈eßawonders anxiously if the Lord might be testing him because of a possible lapse onhis part. The goddess ˛r• Lakßm• is also shaken. Just then the Lord opens his eyes,waking up from his yoganidr¡ (yogic sleep), and with tears of joy in his eyes. Hisweight is back to normal and ⁄di≈eßa is able to bear the weight of the Lord asbefore. ⁄di≈eßa asks, “My Lord, why this unbearable heaviness?”

C 22 The Story of Patañjali

With his bewitching smile back on his face, the Lord began to explain the won-derful spectacle he saw when he was in yoganidr¡. He describes the ecstatic divinedance (t¡∆∂ava) of Lord ˛iva in the ponnambalam (the golden chamber) to theaccompaniment of various musical instruments played rhythmically by severaldevas (celestial beings). It was on account of the infinite bliss (¡nandaghana), heexperienced that he became heavy, he says. Hearing that, ⁄di≈eßa, himself a loyalservant of Lord Viß∆u and also a great devotee of Lord ˛iva, expresses sponta-neously his desire to witness the divine dance of Lord ˛iva and requests the Lord togive him the boon.

Viß∆u says that this is exactly what ˛iva had ordained ⁄di≈eßa to do. By way ofbackground, the grandson of Pa∆i, known as P¡∆ini, performed severe penance andsurrendered to Lord ˛iva, once upon a time. ˛iva, with great compassion towardP¡∆ini, played his small drum (∂amaru), and from the sound created by the drumwas born the M¡he≈vara S¶tra, the basis of Sanskrit grammar. Based on M¡he≈-vara’s aphorisms, P¡∆ini wrote a s¶tra that became the basic text for Sanskrit gram-mar. Further, K¡ty¡yana, again with the grace of Lord ˛iva, wrote a detailedcommentary on P¡∆ini’s aphorisms. Then P¡∆ini’s student Vy¡ghrabh¶ta andK¡ty¡yana’s pupil Svabh¶ti taught the v¡rtika (commentary) to several others. LordParame≈vara, however, was satisfied neither with the quality of these works norwith the pace of propagation of Sanskirt grammar, which resulted in very unsatis-factory communication among people and a poor understanding of the ≈¡stras(scriptures). Hence Lord ˛iva desired that ⁄di≈eßa take birth as a human being, wit-ness the dance of ˛iva, and then write a detailed and authentic commentary on San-skirt grammar. “Thus the Lord Parame≈vara has ordained,” Viß∆u informed theeager ⁄di≈eßa. He was overwhelmed with joy at the prospects of witnessing thecelestial dance of Na†ar¡ja (the Lord of the dance, ˛iva) and of writing the authen-tic commentary, the Mah¡bh¡ßya (the great elucidation).

In due course, ⁄di≈eßa, desiring to reincarnate as a human being, moves aroundin space looking out for a suitable family to be born into, and reaches a tapovana(serene forest). There, as he would later define ahi≥s¡ (nonviolence) in hisYogas¶tras, he finds ahiµs¡ fully manifested. Natural malefics are found to live inharmony in one another’s company. In that forest, the daughter of a sage, calledGo∆ik¡, was performing penance, desiring a satputra (a worthy son). ˛eßa decidesto bless Go∆ik¡ by being “born” to her as a child. As she offers oblations to S¶rya(the sun), the pratyakßa (manifest) god, and with her hands kept in añjali mudr¡(folded), ˛eßa enters into the arghya (oblation) water in her hands and falls to theearth as a child along with the water of oblation. Go∆ik¡, pleased immensely withthe birth of the divine child, showers her love on the baby and names him Patañjali,meaning “one who falls out of folded (añjali) hands.” As years pass by, Patañjali,with a preponderance of the sattva gu∆a (quality of dharma, or order and piety), has

The Story of Patañjali 23 D

a deep desire to do tapas (intense meditation) on ˛iva. Promising his mother that hewould be at her side anytime she needed him, he moves toward the southernseashore to commence his intense meditation on Lord ˛iva.

As is his wont, Indra, the celestial king, uneasy with the prospects of the spiri-tual success of Patañjali, dispatches several celestial damsels to distract the atten-tion of Patañjali and frustrate his yogic attempts to have a vision of Lord ˛iva.Patañjali, however, who is to write an authentic text on yoga, remains steadfast inhis meditative endeavors, and the damsels (apsar¡s), sensing defeat, retreat to theabode of Indra. Afraid that Patañjali may curse them later for their adharmic(improper) advances, the celestial dancers praise the yogic prowess of Patañjali toIndra.

Subsequently, Lord Mahe≈vara (˛iva), pleased instantly with the unwaverings¡madhi (absorption in yoga) and the intense tapasya and ek¡grya (one-pointed-

ness) of Patañjali, presents himself,along with his consort, Um¡, and seatedon his bull, Nandi, in a divine vision toPatañjali. He is ready to grant the boonof the vision of the celestial dance toPatañjali, which was the very purposeof ⁄di≈eßa’s birth as a human being.

The cosmic vision of the moon-crested Parame≈vara brings out the poetin Patañjali. Prostrating himself in frontof Him, he eloquently and poeticallydescribes the Lord’s immaculate formfrom foot to head (p¡d¡di ke≈¡ntavar∆an¡). Reminding Patañjali, whobecause of nescience (avidy¡) had for-gotten his original form of ⁄di≈eßa, histrue nature and also his mission onearth, the Lord orders him to come toCidambaram and witness the ¡nandat¡∆∂ava (dance of bliss) in order that hemay have firsthand knowledge of theoriginal Mahe≈vara S¶tras and write theMah¡bh¡sya, or great commentary, onthe grammar aphorisms and reconcilethe differences and iron out the confu-

sion that had arisen in the work of subsequent authors and teachers. So saying, theLord disappears.


The ¡nanda t¡∆∂ava of ˛iva witnessed by Patañjali

Journeying along the landscape and forests full of natural beauty and peace,Patañjali reaches the holy place of Cidambaram. There, the bh¶ta ga∆¡s and other˛iva devotees are waiting, with great expectation, to witness the dance of ˛iva.Patañjali, along with another devotee, Vy¡ghrap¡da (tiger-footed), and other sages,reaches the golden theater (ponnambalam) to witness the dance. Several celestialgods, among them Agni, Yama, Niruruta, Varu∆a, Marut, Kubera, and, of course,Indra, are already present. Patañjali is overwhelmed by the grand assembly ofrenowned figures, ordinary mortals, and others expressing their joy by blowingconches and beating drums.

Taking the aerial route, Lord Candra≈ekhara (“moon-crested”), in all his divinesplendor and accompanied by the goddess Um¡, arrives at the theater riding thegreat Nandike≈vara (bull vehicle of ˛iva). The celestial dance is about the start. Tomaintain decorum and to conduct the dance, Nandike≈vara takes the baton. Viß∆ubecomes the percussionist, Brahma plays the chime, Indra the flute, and Sarasvat•the v•∆¡. Um¡, the Lord’s consort, oversees the arrangement with her bewitchingsmile. Specifically asking that Patañjali and Vy¡ghrap¡da carefully and intentlywatch the dance for all the details, the Lord gives the necessary divyadƒß†i (divinevision). The great t¡∆∂ava starts with a slow rhythm and in time reaches acrescendo. Engrossed completely in the divine dance, the great sages lose their sep-arate identities and merge in the great oneness (parava≈a) created by the t¡∆∂ava.They then realize that this was precisely the experience of advaita (oneness withthe only essential principle of conciousness). It is said that one gets the advaitaexperience as a result of the grace of Lord Parame≈vara. The t¡∆∂ava slowly comesto an end. Asking Patañjali once again to write a commentary on Sanskirt grammarand then return to his divine abode, ˛iva disappears from mortal vision. BothVy¡ghrap¡da and Patañjali, desiring that other devotees not as fortunate as theywere also have the bliss of seeing the t¡∆∂ava, engrave in stone the dance of ˛ivain Cidambaram. Patañjali, concentrating fully on the divine vision he had of thecelestial dance of ˛iva, writes a detailed commentary called the Mah¡bh¡ßya. Sev-eral students, hearing about the greatness of the masterly work, flock to him fromall directions. Patañjali, desiring to teach them all simultaneously, but individuallyas well, withdraws behind a curtain and orders the students not to open the screen;he takes his original form as the thousand-hooded ⁄di≈eßa and starts teaching all ofthem. As is the custom, the students chant the invocatory and ending prayers duti-fully and study in an orderly fashion. This goes smoothly up to the point of theirstudying the s¶tra known as the Vasu S¶tra.

Several of his students, unable to control their bewilderment as to how a singleperson can teach so many of them simultaneously on a one-to-one basis, withdrawthe curtain. They are stunned to find ⁄di≈eßa instructing them individually with hismyriad heads. But the students have committed an offense and have broken the law.


It suddenly dawns on one ofthem, Gau∂ap¡da, that whathas happened is a sacrilege,and everyone will have topay for this unpardonableindiscretion.

Desiring to save hismates, he ventures to suggestto the furious Patañjali thatthis unfortunate incidenthappened because he(Gau∂ap¡da) had left whenthe discourse was only halfthrough, Gau∂ap¡da beingthe one ordained by Patañ-jali to guard the screen frombeing tampered with by thestudents. Patañjali, angrythat a student left class with-out chanting the uttara (end-ing) ≈¡nti p¡†ha (peace

invocation), curses him as a r¡kßasa, or demon. A r¡kßasa is one who accumulateswealth but gives away little. Gau∂ap¡da was cursed to become a brahma r¡kßasa,one who accumulates knowledge but keeps it to himself. In the olden days, schol-ars always looked for students to whom they could impart their knowledge, lest theybecome a brahma r¡kßasa. Gau∂ap¡da, like a lightning rod, takes the wrath of theteacher and becomes a brahma r¡kßasa. Regaining his composure quickly, Patañ-jali, taking the form of an old man, suggests an antidote for his own curse to his stu-dent brahma r¡kßasa. The curse will be exorcised, he says, “if you are able to findone who could tell him [Gau∂ap¡da] the nista (past participle) of the Sanskrit rootpac,” a grammatical peculiarity. “After giving full instructions in the Mah¡bh¡ßya,Patañjali writes the Yogas¶tras, a classic on conventional yoga, and another work,a commentary on the science of medicine. He then meets his mother and, afterobtaining her blessings and being satisfied that he has accomplished his mission,assumes his original form of the countless-hooded ⁄di≈eßa. The brahma r¡kßasa,sitting on the top of a banyan tree, asks all and sundry who pass by the questionposed by Patañjali. Everyone, instead of saying that the nista conjugation of pac ispakva, gives pacita for an answer, thinking it like any other root. Promptly they areall gobbled up by the ghost, brahma r¡kßasa.

With Gau∂ap¡da as a brahma r¡kßasa and thus unable to propagate, the


Patañjali teaching Sanskrit grammar to his students in the form of the thousand-headed ⁄di≈eßa

Mah¡bh¡ßya (Sanskrit grammar) is not being taught properly and the Sanskrit lan-guage starts to suffer corruption. After a considerably long time, ⁄di≈eßa, findingthat his work had not spread far and wide as expected, takes another human birth.He straightaway goes to the brahma r¡kßasa and answers the vexing grammaticalquestion himself. The r¡kßasa, getting down from the tree, and having had his curseand spell removed, volunteers to teach the Mah¡bh¡ßya to the traveler.

The traveler says that he is from Ujjain and that his name is Candra. He alsosays that he came to him only to learn the Mah¡bh¡ßya. Even though Candra ˛arm¡was an avat¡ra of ⁄di≈eßa, as is the custom he had to learn the subject from a guruto remove his ajñ¡na (covering veil) to bring out the hidden knowledge in him.Without food or sleep the traveler Candra learns the text of the Mah¡bh¡ßya in justtwo months. He writes down the complete notes on dry banyan leaves, using his fin-gernails as a pen. Having disburdened himself of the knowledge, the r¡kßasaassumes his divine form, bids Candra to propagate the text faithfully, and then dis-appears. Candra collects the leaves and starts walking through the forest.

Upon reaching a beautiful spot in the forest, and having quenched his thirst withthe flowing river water, Candra sits down under a tree to spend the night. As he fallsasleep, a goat pulls at the bundle of dry leaves containing his notes. Waking upimmediately, he collects all the leaves, but finds that in certain places where theteeth of the goat had made an imprint there are marks, making the letters at theseplaces unclear. Because the words were not clear in these places, there could besome doubt about the exact letters used.

Without food and water, Candra travels hither and thither, and falls down uncon-scious. Then a damsel approaches and gives him some butter to eat. She informshim that she had dutifully served several sages, and they had indicated to her thatPatañjali, in the garb of a Brahman scholar—after studying the Mah¡bh¡ßya withthe brahma r¡kßasa—would be spotted by her and would marry him. ThereafterCandra ˛arm¡, on getting the approval of his mother, marries her and takes her toUjjain. Candra then marries women belonging to other sects, and he fathers foursons, Vararuci, K¡ty¡yana, Vikram¡rka, and Bhartƒhari. All of them study theMah¡bh¡ßya with Candra ˛arm¡. After marrying off all his children, Candra takesto sanny¡sa, the fourth order of a renunciate, thanks to the grace of his guruGau∂ap¡da, and stays in V¡r¡∆¡s•, the renowned abode of learning, for some time.A true Advaitin, he then reaches Badrik¡≈rama in the Him¡layas, establishes ama†h (hermitage), and remains in the experience of advaita (oneness with theabsolute). He becomes known as Govindasw¡m•.

Vararuci, the first son of Candra, was well versed in all the ≈¡stras (scriptures)and became proficient in mathematics and astronomy. Vikram¡rka, later known asVikram¡ditya, became a pioneer in law and justice. It is believed that Indra, find-ing the legal acumen and sense of justice of Vikram¡ditya superior, gave him a


simh¡sana (throne) made of high-quality gems. He also received Indra’s boon torule the country for a millennium. The other brother, Bhatti (K¡ty¡yana), becomeshis minister. Bhartƒhari, taking his father’s profession as a Sanskrit scholar and agrammarian, wrote a grammatical masterpiece called the R¡va∆avadha. He alsowrote three well-known works called satakas (100 verses) on love (sƒ©g¡ra), justice(n•t•), and dispassion (vair¡gya). Then, after going through his father’s work ingreat detail, he prepared a commentary of 125,000 verses. It is said, however, thathe became conceited over time and, according to legend, his work became obsoleteand without followers.

Enter ˛a©kara, the great Advaita exponent. ˛a©kara, after escaping from thejaws of a crocodile, takes to sanny¡sa at a very young age and proceeds toBadrik¡≈rama in the Him¡layas to get an audience with Govindasw¡m•. One nightat V¡r¡∆¡s•, ˛a©kara offers prayers to ˛iva in the form of a li∆ga, and Lord ˛ivaconfers on him the boon to write a detailed commentary on the Brahma S¶tras(aphorisms on Ved¡nta philosophy). Eating only fruits and drinking plain water,˛a©kara reaches Badrik¡≈rama after traveling through many forests. At Badri,˛a©kara gets a dar≈ana with Govindasw¡m•, who was in a trance in the caves of the¡≈ram. Thereafter, praising him as an incarnation of ⁄di≈eßa, ˛a©kara asks that hebe taken on as his student. Govinda asks ˛a©kara who he is, and ˛a©kara, with greatalacrity, answers that he is “just ˛a©kara” (kevalah ˛a©kara˙ aham). Realizing that˛a©kara was an avat¡ra of Lord ˛iva himself, Govindasw¡m•, as the customdemands, takes on the role of a formal guru to teach ˛a©kara the sciences of theeternal (brahma vidy¡) and how to attain salvation. ˛a©kara, who writes a com-mentary (bh¡ßya) on the Brahma S¶tras in the tradition of Advaita, becomes knownall over the world.

This story of Patañjali was written by R¡mabhadra D•kßita over three hundredyears ago. For a community of people to prosper, richness of language, pure heartsand minds, and good health are all necessary, says Bhartƒhari. For attaining these,the disciplines of grammar, yoga, and life sciences (⁄yurveda) developed. Patañ-jali wrote three authentic texts on these subjects, and that is the most significant partof Patañjali’s life. Lord ˛iva is also known as Yoge≈vara (lord of yoga) and Bhaißa-jaya (great healer). ˛iva also gave the original S¶tras the M¡he≈vara S¶tra, whichform the basis of the Sanskirt language, perhaps the oldest one. Thus Patañjaliwrote texts on all three subjects by the grace of Lord Parame≈vara. The KaivalyaUpanißad says that the experience of oneness with the supreme, the advaita expe-rience, is possible owing to the grace of ˛iva, as the great sages who saw the divinedance of Lord ˛iva realized. Thus Patañjali and his later incarnation Govindasw¡m•also realized the state of advaita. Then the Lord himself became the avat¡ra˛a©kara and, as was the custom, took initiation from Govindasw¡m• (Govinda Bha-gavatp¡da), an avat¡ra of ⁄di≈eßa. Thereafter, ˛a©kara taught the great Advaita


through his numerous works, and we know this from studying the story of Patañjalias propounded by R¡mabhadra D•kßita.

Scholars may find some historical inaccuracies in the narration of Patañjali’shistory by D•kßita. But he put together the story from the folklore available in dif-ferent parts of India into a mah¡k¡vya. Students of the Yogas¶tras may want to readthis legend of Patañjali compiled and written by D•kßita.


3What Is Yoga?

If a man does not know to which port he is sailing,No wind is favorable to him.

——SSeenneeccaa

IT IS COMMON KNOWLEDGE that the Sanskirt word yoga is derived from theroot yuj, “to unite.” Based on this derivation, the term yoga encompasses a varietyof practices with different ends. If the word yoga means “union,” then there willhave to exist at least two distinct principles, with some commonality existingbetween them, prior to the actual union. Furthermore, there has to be some activityin either or both of the principles prior to yoga, so that there is movement towardeach other, culminating in union. And a system of yoga that facilitates such a unionshould not only specify the principles but also detail the relevant activity requiredfor union. It should also define and describe the actual state of union and the resul-tant experience thereof. It may, as a system, also describe the inferior or subsidiaryresults.

Perhaps the most important system of yoga based on this interpretation is the onedescribing the union between the individual soul and the Supreme Being. This systemof yoga describes the nature of the individual and the supreme souls, the action neces-sary for the union, and the subsequent results. Yoga Y¡jñavalkya, an important text onyoga, describes it as: Saµyoga yoga ucyate! J•v¡tma param¡tmano˙!, which meansthat “total integration between the individual and the supreme souls is called yoga.”

The individual soul, or j•v¡tma, depressed at seeing and experiencing unendingmundane existence, birth after birth, turns its attention toward the supreme soul. Allthe efforts toward achieving this ultimate integration between the two souls willcome under the yoga. The ultimate experience of the j•va in this union is unsur-passed bliss—the Vedas and other texts such as the Smƒtis and Pur¡∆as describe thisin great detail. In the present context, when we define yoga, we are interested inknowing where the activity takes place. Who acts, the individual soul, the supremesoul, or both? There are differing views on that. According to one school, the effortis like that of either a monkey or a cat in taking care of its offspring. A baby mon-key, when it wants to be taken care of by its mother, clings to the mother’s belly asthe mother monkey moves about from branch to branch, tree to tree, wall to wall,going about its activity. The effort and care is on the part of the baby monkey. Inthis same way, the individual devotee, the j•va, should constantly cling mentally tothe supreme soul (God), so that in the course of time the merger with the supremesoul takes place. By and large, the effort is on the part of the devotee-soul. This isthe essence of bhaktiyoga. There is a constant endeavor on the part of the devoteeto keep the thought or image of the deity constantly in the mind’s eye. After suchintense devotion, the mind is nothing but the unwavering thought of the Supreme.In the other view, the god-soul relationship can be likened to that of a cat (m¡rj¡la)and its kitten. According to this school, when the individual surrenders completelyto the will of God, then He, owing to His immense love for the yearning soul, takescare of it completely and facilitates the emancipation of the j•va through its inte-gration with Him. Here the effort emanates entirely from the Supreme Being, andthe individual makes the initial move of total surrender, like a kitten that completelylets the mother take care of it—the cat carries the kitten with its teeth as it movesaround, keeping its offspring out of harm’s way. This initial and total move to sur-render oneself to God is called ≈ara∆¡gati or prapatti. The Lord in the BhagavadG•t¡ (18.66) describes this concept as Sarva dharm¡n parityajya, m¡mekaµ≈ara∆aµ vraja! Ahaµ tv¡ sarva p¡pebhyo, mokßayißy¡mi m¡ ≈uca˙, “Surrenderyourself completely to me, leaving out all concern about your emancipation. I shallremove all the impediments and obtain your release (from mundane existence).”

While s¡yujya (complete integration, yuj, “unity”) is the ultimate end of yoga,the inferior ends will include s¡loka (living in the same world of heaven as theLord), s¡r¶pya (having the same or virtual image of the Lord), s¡m•pya (constantproximity to the Lord). These goals are described in the Vedas and discussed exten-sively in the Pur¡∆as.

Which of the two subsystems is more efficacious—to be constantly engaged allthrough one’s life until the desired, constant vision of the Lord is obtained, asN¡rada would say in the Bhaktis¶tras (Aphorisms on Devotion), or to surrendertotally to God and go about doing one’s duties properly?

What Is Yoga? 31 D

N¡rada was a great devotee of Lord N¡r¡ya∆a. His Bhaktis¶tras are a classic. Heconstantly sang the praise of the Lord and held his form in his mind’s eye. Hebecame known as an embodiment of devotion. But then, the story goes, he becameslightly conceited, thinking that he was the best among all the Lord’s devotees.Wanting to bring to N¡rada a home truth, the Lord told N¡rada that if he wanted tosee the best devotee, he should go down to earth (bh¶loka) to a particular village,where a laborer would toil all day long. After a day’s keen observation of thelaborer, N¡rada returned to see the Lord. “But then he muttered your name just twice

in the day, once in the morn-ing as he woke up and againas he retired to bed, and therest of the day he was goingabout doing his day’s mun-dane duties. What is so greatabout that, for a devotee ofthe Lord?” queried N¡rada.

The Lord then gaveN¡rada a small cup filled tothe brim with oil and askedhim to go around him once(pradakßina), the only condi-tion being that not a singledrop of oil should spill to theground. Concentrating, N¡r-ada completed the task with-out spilling a drop. Beamingwith joy and pride, N¡rada

looked up to N¡r¡ya∆a for appreciation. “But then how often did you think of me,my dear N¡rada?” asked the Lord. “Not once,” said the great devotee, “not evenonce.” With a mischievous smile the Lord said, “Look at the ordinary man, my otherunpretentious devotee. In spite of all the cares of several exacting problems, henever failed to remember me at least twice each day.” N¡rada was put to shame,but he became a greater devotee, without the conceit.

Suffice it to say that action is needed in yoga. What effort is to be put in by thedevotee, and how much ground is covered by the Lord in this yoga or unity ofj•v¡tma and param¡tma, is a matter of lively discussion in several faiths. One mayask one’s teacher for more details.

Another classic yogic system involves the union (yoga) of the primordial energy(˛akti) with the supreme principle of auspiciousness (˛iva) in the microcosm itself.The ˛iva principle is in the sahasr¡ra (center of thousand petals) in the head and is

C 32 What Is Yoga?

The story of N¡rada

pure consciousness, or bliss. It does not move. The ˛akti in the form of ku∆∂alin•(coiled serpent) is at the bottom of the spine, dormant and not moving. Thus, nor-mally there is no movement between the two principles (tattvas), ˛akti and ˛iva,separated, as it were, by the entire spine (meruda∆∂a) consisting of six other cakras(wheels) and three granthis (knots). Arousing ku∆∂alin• and guiding its movementall along the sußum∆¡ n¡∂• (fine pathway), piercing through the six cakras and cut-ting asunder the granthis, and finally integrating it with the ˛iva tattva are the com-ponents of this yoga. How the ˛akti is aroused and guided by the practitioner formsthe essence of this system. All the ˛akti-worship texts (Tantras) describe in greatdetail this ˛akti principle and the means of achieving its movement and integrationwith ˛iva. The Lalit¡ Sahasran¡ma (a text important in the cult of ˛akti worship) ofthe Brahm¡∆∂a Pur¡∆a describes the oneness, or yoga, of ˛akti and ˛iva (˛iva-˛akti-aikya). So in this system of yoga, the s¡dhaka, or yoga practitioner, followsthe procedures given in the texts and by the guru (initiator) and slowly arouses thedormant ˛akti in the m¶l¡dh¡ra (the base cakra), guides it along the right path tofacilitate her union with ˛iva, in sußum∆¡, all within his own organic being. Whatdoes he get by facilitating that union, or yoga? According to ˛r•dhara, the com-mentator on ˛a©kara’s Soundarya Lahar• (Wave of Beauty), the merger producesunsurpassed bliss, which the practitioner experiences permeating all his n¡∂•s(energy pathways). These methods also describe the experiences that a yogi gets inthe intermediate stages, as the ku∆∂alin• ˛akti moves through the different cakrasand cuts asunder the three granthis.

The unity between the sun and the moon principles, ha and †ha, is ha†hayoga(the word ha†ha is usually mispronounced as hatha, its th as in feather; the t shouldbe pronounced as it is in matter, a strong t, with the letter h being added to indi-cate that the t is strong). The sun and moon principles in practical terms are pr¡∆aand ap¡na, two aspects of the physiological forces in the body. The union of thesetwo is the objective of this system of yoga, achieved mainly through ¡sanas (pos-tures) and more especially pr¡∆¡y¡ma (breath control). Brahm¡nanda, a com-mentator on the Ha†hayogaprad•pik¡, states that the unity of pr¡∆a and ap¡na, orpr¡∆¡y¡ma, is ha†hayoga. It is rather strange that many people who practice ha†haspend so little time on yogic breathing exercises, choosing instead to do ratherinvolved ¡sanas without proper breathing. In an hour’s practice of ha†ha, theyspend the entire time on ¡sanas, ending the session profusely sweating and breath-ing heavily.

If pr¡∆a and ap¡na are to be united, which should be the more active principlein achieving the union? In anta˙-kumbhaka (internal retention of breath), the pr¡∆a,whose position is in the chest, is pushed down, whereas in b¡hya (external) kumb-haka, the ap¡na is free to move upward with the help of bandhas (locks) to facili-tate the union. These two ha†hayoga practices are identified by Lord Kƒß∆a in the

What Is Yoga? 33 D

Bhagavad G•t¡ (the Song of God). “Some say that pr¡∆a is to enter ap¡na (pr¡∆amap¡ne juhavati), and others say ap¡na entering pr¡∆a (ap¡nam pr¡∆e juhavati) isyoga.” Suffice it to say that the word yoga, when interpreted to mean “unity” by asystem of practice, should contain the following:

1. A description of the principles (tattva) between which unity or yoga is totake place;

2. the method of achieving such union;3. the intermediate benefits, or milestones;4. the nature of ultimate unity;5. the benefit that arises out of such a yoga.

It might also be mentioned that while the term yoga is normally used to meanintegration between any two principles, in spiritual parlance it refers to unity with ahigher principle: Apr¡pya pr¡pa∆am yogam, “Yoga is achieving or uniting with theextraordinary.” The methodology of yoga is quite involved, prompting Lord Kƒß∆ato say that a minuscule portion of mankind takes to yoga and a very much smallerportion reaches the ultimate goal.

A variant of the root yuj for unity is yuñj. The Dh¡tup¡†ha, an authoritative workon the meaning and usage of roots, indicates that yuñj (yuñj-bandhane) is used toindicate binding. Thus in mantrayoga, the unity between the mind of the practitionerand the mantra itself is called yoga. The yogi prepares his mind first, completelyremoving all distraction by following the preliminary practices (a©ga) so as tobecome a s¡mahita citta (one with a balanced and serene mind). He then concen-trates on the mantra in its entirety, that is, on both the sound and its import. Thefourth chapter of Taittir•ya ⁄ra∆yaka of the Yajur Veda starts by asking the per-former and the priest of the sacrifice (yajña) first to prepare the mind with yoga:Yuñjate mana uta yuñjate dhiya˙, vipr¡˙ viprasya, “The performer of the yajñashould unite his mind completely with the mantra.”

Sanskirt words are derived from roots. Sometimes, different roots can give riseto the same word; conversely, a word can be considered as derived from one ormore roots, giving rise to different meanings for the same word, depending on theorigin chosen. For instance, the well-known word ¡tman, generally meaning “self,”can be derived from different roots. It could mean “one who consumes” (att iti¡tma) or it could mean “that principle that permeates” (¡pnoti iti ¡tma). It can alsomean “one who gathers or collects” (¡datte iti ¡tma). Though the word indicates thesame priniciple here, depending on the root from which it is derived it will indicatea different functional entity. In this way the word yoga can also be derived from theroot yuja and mean sam¡dhi or sam¡dh¡na, “to put in place perfectly” (sum, “com-pletely,” ¡dh¡na, “to place”). The Dh¡tupa†ha puts it as yuja sam¡dhou, or yuja in

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the word sam¡dhi. Thus yoga, by this definition, would mean putting all mentalenergies in place, or harnessing mental energies without any dissipation. This def-inition is different from the earlier derivation of the word yoga from the root yujir,meaning “unity” (yujir yoge).

Based on this interpretation, the yoga of Patañjali is a system of practices thatlead to the total harnessing of mental energy without any dissipation whatsoever(nirodha, “completely contained”). One can note that ultimately it is not unity witha higher principle that is aimed for in this form of yoga, but, rather, the removal ofall the distractions of the mind. When such a feat is achieved, the purußa, theindwelling consciousness principle, remains alone (kaivalya), free from the distrac-tions created by the mind. Thus we have two classical approaches to yoga—the one,unity with the higher, supreme principle, and the other, the regaining of the pristinestature of the innermost principle, the purußa, or soul. One system talks of unity, theother of freedom. In the yoga dar≈ana of Patañjali, all the methods necessary tobring about a completely contained (nirodha) citta are prescribed. The ultimate goalin Patañjali’s yoga is kaivalya, the freedom resulting from the cessation of saµs¡ra,or transmigration. The intermediate benefits, or the necessary by-products, are thevarious siddhis, or supernatural accomplishments. The means of achieving kaivalyavaries from individual to individual, depending on the number or types of holes toplug (to prevent the outflow of citta), and Patañjali, recognizing this, talks of dif-ferent adhik¡ris (levels of evolution) and the appropriate yogic practices for eachgroup of yoga practitioners.

What is Yoga? 35 D

4Advanced Yoga

“No! No!” said the queen,“sentence first, verdict afterwards.”

——AAlliiccee iinn WWoonnddeerrllaanndd

WHEN I CIRCULATED THE FIRST draft of this book among some friends, all ofthem kept it for a long time. When I asked for their opinions, some chuckled andsome were silent, and I could see that something was bothering them. One friendsaid that it had lots of interesting information, but that a number of changes wouldhave to be made (apart from editorial ones), and that he was unable to decide whereto begin making them. It all fell into place when this friend said that I seemed tostart with, and dwell in, the final picture, filling in the details slowly rather thanbuilding up the concept from the fundamentals.

This is true, and it is also the way Patañjali has presented his whole treatise onyoga, which many people find overwhelming, jolting, and rather disconcerting. Theachievable and ultimate goal (s¡dhya) is described fully at the outset, and theauthor attempts to complete the subject by assuming that the yogi whom headdresses is so evolved that it is not necessary to explain the preliminaries and themeans in any great detail. Then, having finished with the evolved ones, and as ifthey were an afterthought, the requirements of the less evolved are taken up. Thesubject is then dealt with in great detail, and the means (s¡dhana) are explained.

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This method of presentation is common to treatises on the ancient philosophies ofIndia. The Taittir•ya Upanißad, a classic in Ved¡nta, starts with the goal, which isto obtain the highest knowledge, the knowledge of Brahman, the ultimate and onlyreality. The text defines Brahman almost immediately. But the means of attainingthe ultimate are taken up in a later chapter, where a step-by-step approach isdescribed. Of course, many find considerable merit in this approach of first describ-ing the s¡dhya (goal) and then the s¡dhana (means). It is useful because one cankeep the goal in the back of one’s mind even as the beginner starts with the firststep in the long spiritual journey.

The first important point to be noted in traditional yoga as propounded by Patañ-jali is that his yoga faithfully follows thoughts about yoga contained in Vedic tradi-tion. By using the word anu≈¡sana (exposition) in the very first s¶tra, Patañjalidrives home the point that his treatise is written so that authentic yoga could be prop-erly understood and practitioners could refrain from doing all other yogic practicesthat are not in conformity with traditional yoga. Over a period of time, every reli-gion or philosophy becomes corrupt or degenerates and requires a cleansing process,and Patañjali has performed that task following the directive of the Lord. The firsts¶tra thus affirms that the treatise is the work on traditional yoga. My teacher usedto point out several unacceptable practices in latter-day yoga texts and systems andwould ask his yoga students to keep the teachings of Patañjali as a beacon to steerclear of the mire of discordant practices propounded under the banner of yoga.

Anu≈¡sana would also indicate that yoga follows Vedic tenets. There are fiveother philosophies or dar≈anas that purport to convey the essence of the Vedas. Thesix dar≈anas are Ny¡ya, Vai≈eßika, M•m¡µs¡, S¡µkhya, Yoga, and Ved¡nta.These sister philosophers betray considerable sibling rivalry, but never deviate fromtheir obedience to the mother scripture, the Vedas. They implicitly subscribe to thebasic traits of the Vedas. That every effect has a cause, and the elaborate theory ofkarma based on this premise, is faithfully followed by all the dar≈anas or ≈¡stras.“As you sow, so shall you reap” is the basic refrain of the karma theory. The Vedasprescribe what the activities are that will bring happiness here and hereafter, andone’s present birth is one link in the chain of lives one goes through. Hence thekarma theory is the cornerstone of all the Vedic philosophies, including Yoga.

Having said that Yoga is a ≈¡stra or a system of philosophy based on the author-ity of the Vedas, it follows that Yoga’s goal should be consistent with those of theVedas. The Vedas are a body of texts that contain knowledge about what is favor-able and what is unfavorable, about activities that, when performed, give thedesired results, and about activities that are to be avoided so that undesirable con-sequences do not occur (anuk¶la pr¡pti, pratik¶la parih¡rayo˙, aloukikam up¡yamyo grantho vedayati, sa veda˙). The ≈¡stras (the system of knowledge based on theVedas) also have the same goal. A ≈¡stra or an anu≈¡sana dar≈ana is defined as

Advanced Yoga 37 D

Pravƒtir va nivƒtt•rv¡ nityena kritakena v¡! / Pums¡m yenopadi≈yate tat ≈¡stramabhidh•yate! (“All the ≈¡stras, including Yoga, should show the means of attaininghappiness or avoiding unhappiness”).

At this point one might inquire about what the Vedas have to say regarding inwhat happiness, or bliss—which is beyond the human conception of happiness—consists. The whole range of happiness is presented in great detail. Take the caseof a young person (yuv¡), well versed in all the ≈¡stras (yuv¡ adhy¡yika˙). He ispious (¡≈ißtah), and all his senses function perfectly (dƒ∂h•sta˙). He is physicallystrong (balißta˙), and he may be endowed with extensive properties and wealth(pritv• vittasya p¶rnasy¡t). Such a fortunate person’s happiness can be taken as themaximum of possible human happiness. In contrast, the happiness of manußyagandharva (celestial man) is one hundred times more perfect than this human hap-piness. Continuing on in this ascending Vedic scale of happiness or bliss of beings,in multiples of one hundred, are the devagandharva (celestial musicians), pitru(inhabitants of the celestial world of ancestors), then ¡j¡n¡jana devas (those whoreach the higher world because of charitable acts), then karma devas (those whohave become angels through righteous deeds), then the devas (the celestial beings),Indra (the leader of the devas), Bƒhaspati (the preceptor of the devas), Praj¡pati,and Brahma (the four-faced creator of the phenomenal universe). These variouslevels are achieved by performing the various prescribed actions that are mentionedin the Vedas during one’s human existence.

On the other hand, by performing forbidden (nißiddha) activities, one falls intobirths that are more and more painful. Human unhappiness reaches its maximum ina person who is old, ignorant, and immoral, and who has lost his faculties, is physi-cally weak, and is poor. One hundred times more pitiable is the life of cattle, andthe graduated scale of unhappiness increases one hundredfold in each order of ani-mals, birds, reptiles, ants, worms, trees, shrubs, stones, and lumps of clay (or dust).The M•m¡µs¡ and other dharma ≈¡stras, based on the ritualistic portions of theVedas, detail the karmas necessary to reach the higher levels of bliss, even as theycatalog activities that are reprehensible, apart from the daily (nitya) and special(naimittika) duties, the performing of which can prevent one from falling intoabysmal misery. Thus, in great detail, bliss, or happiness, is described along withthe means of achieving it. Two questions that may arise will need to be answered.The first is, how does one know for sure or prove that such worlds and beings existat all? To this the karma theory, which is inferential, is introduced as an answer.This will be taken up in greater detail later, following Patañjali. S¡ya∆a, who haswritten an elaborate commentary on the Vedas, says dismissively that suchpremises as the existence of hell and heaven, and whether the various Vedic riteswould give rise to experiences in such worlds, can neither be proved nor disprovedby logicians, even if they would debate and argue for a billion years (≈ata koti

C 38 Advanced Yoga

varßam). The second question concerns the experience of pain by such inanimateobjects as stones and dust. According to Ved¡nta, pure consciousness, or Brahman(or God, from another viewpoint), pervades the universe and that consciousnessmanifests as awareness or intelligence wherever there is life; otherwise it is dor-mant. There are some popular myths that discuss the concept of an all-pervadingconsciousness (or God).

Hira∆yaka≈ipu was a demon king, but his son Prahl¡da (the blissful one) waspious and a great devotee of Lord N¡r¡ya∆a, the Supreme Being. The demon kinghad acquired such great supernatural powers, because of his tapas (penance), thathe declared himself as God. But he was horrified to find that his son would notaccept him as God, even though, out of fear, the celestial beings were prepared toworship Hira∆yaka≈ipu as they would worship their Lord. Prahl¡da, so the storygoes, was subjected to all kinds of torture, including being thrown into fire anddrowned in deep sea, but he came back unscathed, thanks to the grace of his bene-factor Lord N¡r¡ya∆a. With impotent rage, and unable to find his son’s Lord, thedemon king asked his son where his benefactor N¡r¡ya∆a was. The serene, smilingdevotee, with tears of joy in his eyes, said, “Father, don’t you see? He is every-where. He is in this pillar in front of us and in the dry grass blade that floats aroundhere.” The story goes on to say that the furious king then hammered his maceagainst the pillar. The Lord, in his famous Narasimha (man-lion) form, split open thepillar, came out, and destroyed the demon king, Hira∆yaka≈ipu. This particular storyis told, as are others, to stress the truth about the all-pervasiveness of Brahman (con-sciousness/God) and that allobjects are thought to haveconsciousness.

Yet another story fromthe great R¡m¡ya∆a indi-cates that stone could be astage an individual self mayexperience, the result ofdoing forbidden karmas or ofperforming adh¡rmic actions.It would appear that Ahaly¡,the chaste wife of the greatsage Gautama, was trickedinto committing adultery byIndra, the celestial king, whoassumed the form of thesage. Gautama, who came toknow about the treachery

Advanced Yoga 39 D

Hira∆yaka≈ipu’s day of reckoning

through his yogic powers, not only condemned Indra to a pitiable state, but alsocursed his unsuspecting, victimized wife to the inert state of a stone to suffer insur-mountable pain for the transgression. After a long period of suffering in the inertstate, Ahaly¡ was rescued when the divine feet of Lord R¡ma brushed by her whileshe was in her inanimate state. This story implies that a stone is also believed tohave consciousness.

The truths, morals, and messages contained in the Vedas are thought to be under-stood better through the stories,anecdotes, and narratives in thePur¡∆as (mythology) anditih¡sas (epics). The Vedicv¡kya (injunction), saty¡t napramaditavyam (never deviatefrom the path of truth) is drivenhome in the “Hari≈candraUp¡khy¡na” (Story of Hari≈can-dra) in which the triumph of truthagainst all odds is described.The R¡m¡ya∆a, through the con-duct of ˛r• R¡ma, shows whatright conduct, or dharma, is bydepicting R¡ma as the embodi-ment of virtue (ramo vigrahav¡ndharma˙). The same is true ofthe Mah¡bh¡rata.

The M•m¡µs¡ philosophyof actions that follows the Vedic directives and injunctions will help the individualachieve greater happiness and avoid pain. The Ved¡ntins, on the other hand, pointto the limitations of time for all the fruits of pious actions and achievements. As longas the karma in store is able to provide the highest states, then such happiness con-tinues, but on the exhaustion of the pu∆ya (effects of meritorious deeds), one fallsback to the cycle of huge ups and downs. They point out that by the realization ofthe identification of the soul with Brahman, unsurpassed bliss (param¡nanda)occurs, and this state being final and permanent, they urge the aspirant to follow thethought process contained in the Upanißad portion of the Vedas to attain permanentsupreme bliss and avoid the cycle of birth and death (mokßa). S¡µkhya and Yogaphilosophers, on the other hand, take the approach that they are not concerned abouthappiness, but would like to avoid pain, or du˙kha, since the so-called happiness orbliss discussed by the M•m¡sakas is always limited and tinged with sorrow. Thephilosophers belonging to the Ny¡ya school would say that happiness tinged with

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Ahaly¡’s curse exorcised by Lord R¡ma’s grace

sorrow is like a sweet dessert (p¡yasa) contaminated with a drop of poison. TheS¡µkhyas point out that human beings suffer as the result of three kinds of causes:those arising from within (adhy¡tmika), such as disease, and depression; those trig-gered by natural phenomena (or acts of God, as they are commonly known), called¡dhidaivika; and those caused by other creatures, including fellow human beings(¡dhibhoutika). All the known methods used by human beings to ward off the atten-dant pain suffer from two deficiencies, because the efficacy of the methods is nei-ther permanent nor definite—like taking medicines to cure a disease (as suggestedby ⁄yurveda). Sometimes medicines seem to work, but the cure may not be per-manent. Similarly, worldly efforts to obtain what is desirable, whether it be wealthor a spouse, may or may not result in success or unalloyed happiness on succeedingin the endeavor. In the same vein, the S¡µkhyas find fault with M•m¡µs¡kas’advice on how to reach different lokas (heavenly abodes detailed in the ≈¡stras) inthe life hereafter for being fraught with the same deficiencies. The activities aremixed with some p¡pa (sin), because some of the rituals, for instance, the violenceinvolved in sacrificing life in the a≈vamedha, will produce their own undesirableeffects in the future, even as one may enjoy the celestial worlds. Thus theS¡µkhyas conclude that all human effort will produce mixed and impermanentresults, and they recommend deep introspection aimed at finding out the nature ofone’s own self. They propose that a thorough understanding of the various aspectsof nature (prakƒti) and the immutable state of consciousness of the soul, and thedirect perception of their distinction (prakƒti-purußa viveka), will permanentlyremove the cause of the threefold pain. The citta thus becomes free of all pain. Thusthe S¡µkhya ≈¡stra is a nivƒtti ≈¡stra (an antidote to unending pain). Yogis followthe same line of reasoning and proceed to lay out a detailed methodology to attainthe state of kaivalya of the soul from the mind.

So what does Yoga have to offer? What is its goal? What are its benefits? Thesequestions will have to be answered, for who would subject him- or herself to thevarious disciplines, restrictions, and difficult practices of Yoga, unless, at the outset,the goal and the various ways and means leading to it are clearly laid out. There isa saying that no one, not even a dimwit, would make an effort unless he or she knewwhat the benefits of the effort were. If one accepts the contention that for a dis-criminating person (viveki) the entire range of human and superhuman happiness ispain (du˙kham eva sarvam), then Yoga becomes meaningful, and the Yogas¶trasproceed to address, among other things, four questions.

1. What is it that one should escape from or avoid (heyam)? The answer issaµs¡ra, or phenomenal existence.

2. What is the cause of this saµs¡ra, which is to be avoided? The cause (heya-hetu), according to Yoga, is the wrong thinking (ignorance) that the

Advanced Yoga 41 D

observer, the Self (purußa), and the observed self-locus, or ego, are one andthe same. The subject is unaware or ignorant of the two distinct principles,Self (cit) and self-locus (citta).

3. What are the means of attaining the release (h¡nopaya) of the Self frombeing constantly required to toe the line of citta? The release is attained byfirst knowing and then maintaining an unwavering awareness that they arein fact different. This is direct perceptive knowledge (yougika).

4. What is the nature of the destruction of ignorance (h¡na) that is the benefitof the yogic exercise? It is called kaivalya, or freedom, or a state of alone-ness (kevala, “alone,” “only”).

Patañjali, in his treatise on yoga, recognizes three distinct principles, calledtattvas. They are purußa, prakƒti, and °≈vara. It is necessary to expand on these tohave a proper appreciation of Patañjali’s yoga. Purußa means “the indwelling prin-ciple.” It is the observer, pure and simple in every being. It is total conscious-ness/intelligence (dƒ≈i m¡tra) and is nonchanging. But it is constrained to observeand oversee the continuous activity and presentations of the citta, which may betaken to mean the brain or the principle that receives and collates all sensoryimpressions, feelings, moods, and so on, and presents them to this Self (purußa).Thus, even though the purußa is different from the engulfing citta, it is not entirelyfree of it. This ceaseless mental activity (citta vƒtti), and the necessity of theobserver or Self to identify with it, is the cause of bondage. Prakƒti is that whichevolves, the evolution itself taking place in stages, producing twenty-four princi-ples in all. The first stage, or the irreducible level, is known as ali©ga, the non-manifest, nonspecific. This stage, also known as m¶laprakƒti, or root of theuniverse, has its three fundamental constituent characteristics, namely, sattva,whose main characteristic is clarity; rajas, which gives mobility; and tamas, whichrestrains. All are in perfect equilibrium (s¡mya avasth¡). Evolution itself startswith the disequilibrating of these three basic gu∆as, or constituents. Even thoughthey are opposed to one another, the gu∆as mutually support one another in theprocess of evolution. Prakƒti itself is made up of the three gu∆as, and Patañjalirefers to the evolution of the gu∆as as the cause of experience for the purußa. Thesecond stage is called li©ga, the stage of primary or indicative manifestation. It isalso known as mahat, or universal mind. The third stage is known as avi≈eßa, ornonspecificity. In this, mahat evolves into six distinct aspects, that is, ahaµk¡ra, orthe individualized existence (ego), and the five sensations, sound (≈abda), touch(spar≈a), form (r¶pa), taste (rasa), and smell (gandha). These five are known astanm¡tras, or the pure forms of sensation, which require further instruments(indriyas) for being perceived and media (bh¶tas) for their manifestation. The indi-vidualized existence and the five tanm¡tras hence require the means of percep-

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tion, and thus we have the next stage of evolution of prakƒti, which is the mind(manas) and the five instruments of perception: the organs of hearing, touching,seeing, tasting, and smelling. Then there are the five instruments of action: legs,arms, speech organs, and secretory and generative organs. Finally, there are thefive basic gross aspects of the phenomenal universe: space (¡k¡≈a), matter in theform of energy (agni), air (v¡yu), fluid (ap), and solid (pritv•). These are the mediaby virtue of which objects, in terms of their tanm¡tras, move. The things weobserve consist of the various combinations of these five gross aspects, and fol-lowing from them are innumerable other objects with different names and forms.Patañjali describes the entire creation as it is observed by the individual soul(purußa). The instruments of perception receive signals from the gross elements,which the mind collects and, with the coloring of the “I”-feeling, presents to thepurußa, or observer. It could be noted that even the citta, an aspect of which is mis-taken for the Self, is actually part of the observed, since all the mental modifica-tions (citta vƒtti), including the I-exist feeling (asmit¡), are observed by the purußa.Prakƒti can be of no use except to the purußa (since without it, prakƒti will not beseen to exist), and the ego makes use of this principle for a variety of experiences(bhoga) or for renunciation (apavarga). The distinction between purußa and prakƒtiis the greatest revelation of the Vedic philosophies, especially S¡µkhya, Yoga,and Ved¡nta. Prakƒti, which consists of three gu∆as (aspects), permeates thetwenty-three evolutes. And all three gu∆as are discernible. Sattva is order(dharma); tamas is disorder (adharma); and rajas is energy. At the individual level,the three aspects are recognizable as follows: Sattvam laghu praka≈akam, iß†am,upaß†ambhakam calam ca Raja˙ / Guruvara∆akam etat tama˙, prad•pavat cartatovƒtti˙ (“Sattva is lightness at the physical level and clarity at the mental level,which is the most desirable quality; rajas is restless physical activity and instabil-ity at the mental level; and tamas is heaviness at the physical level and completeinertia at the mental level”).

The third principle apart from prakƒti and purußa is °≈vara. The inspirationalbasis of Yoga is S¡µkhya. But unlike N•r•≈vara S¡µkhya philosophers, Yoga alsorecognizes the principle of °≈vara, the cosmic or universal Lord. According to Patañ-jali, God is one special purußa, but unlike individual souls, it is unaffected by afflic-tion (kle≈a), actions (karma), results of actions (vip¡ka), and accumulation of karma(¡≈aya). In Him is contained all potential knowledge (omniscience). He is the firstspiritual preceptor, and transcends space and time. He responds and manifests Him-self to the devotee in the repetition of His name, the most sacred mantra, thepra∆ava (OM). Pra∆ava literally means “highest praise.” The repetition of OM (pro-nounced AUM) is known as japa, which is to be done while contemplating thesecret meaning of the sacred syllable. Such contemplation helps in the removal ofall obstacles in a yogi’s quest for self-realization.

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The second s¶tra defines the essence of Patañjali’s yoga. It contains the wordscitta, vƒtti, and nirodha. Even as he goes on to describe the vƒttis in a later s¶tra, thissuccinct definition is sufficient for the evolved yogi, whom Patañjali addresses inthis s¶tra. Several commentators have taken the trouble to explain these words ingreat detail for the benefit of a varied audience.

What is citta? Cit iva bh¡vayati iti cittam. In this explanation, citta is that whichacts as if it possesses consciousness, or cit. In a limited way, citta may be comparedto a highly complicated and extraordinary robot that is wired and appears to haveintelligence when electricity passes through the different circuits. In this theory, thecitta whose circuitry is evolved according to one’s saµsk¡ras has no consciousnessof its own, but appears to when pr¡∆a, the life energy, passes through it. The dis-tinction between it and cit needs to be understood by the yogi; the word cit is syn-onymous with purußa, the indwelling, nonchanging, pure consciousness principle.What are the characteristics of citta? The S¡µkhyas use the term anta˙kara∆a todescribe this internal organ/instrument, which can be called the brain, for want of abetter word. This “organ” has three different aspects: buddhi (intellect), ahaµk¡ra(self-locus or ego), and manas (mind). At any particular moment, one of the aspectsappears to function predominantly. When active, the buddhi aspect (buddhi vƒtti) isable to analyze (adhyavas¡ya) various things presented to it—like a plow thatbreaks down the hard soil, making it fit for agriculture (adhyavasayo buddhi˙). Butthis buddhi can be pure (sattvic) or corrupt (tamasic). When buddhi is sattvic, it mayanalyze all the aspects of the universe (prakƒti and its evolutes) and lead the ego inthe direction of dharma (law of piety), jñ¡na (spiritual knowledge), vair¡gya(extreme dispassion, after proper analysis), and ai≈varya (supernatural powers andethical leadership). In effect, the buddhi in its sattvic mold makes a proper analysisand directs the individual mind in any of the four uplifting paths. On the other hand,if the buddhi is in a tamasic mold, it leads the individual to act immorally or unlaw-fully (adharma); or with ajñ¡na, or spiritual ignorance, about the nature of self orcit; with avair¡gya, or a lack of dispassion; or with anai≈varya, that is, as a slave tothe senses. In short, when buddhi is tamasic, the capacity to discriminate what isgood from what is not (dharm¡dharma) is blunted. The next vƒtti is ahaµk¡ra vƒtti(ego-locus preponderance), which leads to an extreme attachment to the body,senses, and worldly possessions and pleasures. Manas, the other aspect of citta,coordinates the senses.

The next word in the definition of yoga is vƒtti, which means “activity” or “func-tion” (vƒtti jivane). The citta constantly thinks, plans, and acts to achieve what itbelieves is desirable (if the citta is sattvic) and to avoid what is not. Endeavoring toachieve what is desirable is pravƒtti, and avoiding and eradicating what is not iscalled nivƒtti.

Nirodha is the third word in the definition. It means “to prevent both streams” of

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mental functioning, that is, both pravƒtti and nivƒtti. This prevention does not comefrom outside, but has to be evolved by a thought process called jñ¡na, mentionedearlier. Jñ¡na is the correct knowledge of the purußa, as distinct from the virtualself, the one experienced as a self-locus or ego by all of us.

If nirodha˙ is to prevent all the functions of the citta from within, will it not leadto death? In this regard Patañjali talks about the vi≈eßa vƒttis (specific functions)pertaining to each individual brain. What keeps life going is another form of vƒtti(function) called s¡m¡nya (general) activity, which helps maintain the physiologi-cal functions of the individual through the five pr¡∆as, or vital forces. S¡µkhya indi-cates this as follows: S¡m¡nya kara∆¡ vƒtti˙, pr¡∆¡dh¡ya˙ v¡yava˙ pañca, “Thefive vital forces are the general function of the internal organ (brain).” Ny¡ya alsosays that effort is of three kinds—proactive, reactive, and life sustaining: Prayat-nam trividam proktam, pravƒtti, nivƒtti, j•vanaprayatna˙. The notion of nirodha˙entails the complete cessation of the activities of the citta and the containing of itsenergies within itself. Nirodha comes from ni or nitar¡m, “always,” and rudhir-¡vara∆e: rudhi is ¡varana, which means to encircle an object completely so that itdoes not move or flow out (here, through the senses). The citta, by a special processcalled “yoga,” contains its own energies within itself. In short, the s¶tra says that thestudy and practice of “yoga” will facilitate the complete stopping of the citta, by thecitta itself. This is what has been explained earlier as sam¡dh¡na, or harnessing thewhole mental energy without dissipation. And this level of nirodha is to be distin-guished from all other levels. Vy¡sa and other commentators explain them so thatone may be able to distinguish nirodha from other mental states (levels or bh¶mi)even though Patañjali takes it that the evolved yogi will be able to attain the ulti-mate goal of yoga without any further elucidation.

In his commentary on the Yogas¶tras, Vy¡sa classifies the mental levels (cittabh¶mi) into five, from the viewpoint of a yogi. At one extreme is the group of peo-ple who could be deemed to have kßipta citta, or a demented state. This group, lack-ing concentration, cannot even comprehend yoga and its benefits. The next group isin the level of m¶∂ha (totally covered or infatuated). Such people cannot reconcilethemselves to the separate existence of a distinct indwelling intelligence principle(purußa, or Self), or inwardly to the all-pervading cosmic principle. They live by thedictates of the senses and the undifferentiating mind, rolling with the punches andriding with the tide, and as such are afflicted. The third, the restless level, is calledvikßipta. It is a state of evolution in which the individual yearns toward realizing histrue nature, but is constantly distracted by the senses and recollection of earlier dis-turbing experiences. He intellectually recognizes the true nature of the self when itis pointed out by the treatises of Yoga and Ved¡nta, but is constantly distracted, thedistraction itself arising out of acquired habits, a result of beginningless previouskarmas (residues of action). Our citta is made up of the remainder of tendencies

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arising out of past karmas (saµsk¡ra ≈eßam hi cittam). For many of us, it is first ofall difficult to accept the distinction between the Self and the most fundamental cog-nitive focus, or citta vƒtti, which is the I-feeling. Even if one mentally accepts thatview, since the mind is used to different activities, this discriminating knowledge(viveka) itself is fleeting. Thus, such persons in whom a faint spiritual restlessnessis discernible are dissatisfied with mundane and phenomenal existence. They occa-sionally do achieve a state of total absorption (sam¡dhi) in a higher principle, butsuch experiences are few and far between. According to Vy¡sa, those experiencesare not to be categorized under yoga as such, which requires a total transformationof the citta. Yoga is the science that helps one achieve such a transformation ofcitta, by the appropriate practices of the citta on the citta, so that the prevailing dis-tracting saµsk¡ras (formed habits) are replaced, as it were, by nondistracting orconcentrating habits. When a person thus takes to the practice of yoga with a viewto achieving the objective of mental transformation leading to self-realization, he isknown as ¡rurukßu, or one who is desirous of treading the path of yoga. Even herepractitioners vary and are known as mildly, moderately, or totally involved, depend-ing on their dedication to practice.

The last two mental levels really come under yoga. In the fourth, called ek¡gra(one-pointed), the same object is kept by the citta in successive moments. Theobject could be a gross object grasped by the senses or an eternal idea, a subtle feel-ing, or bliss. In ek¡gra, there is only one idea, and even the feeling of “I exist” isabsent, or at least dormant. The citta is completely absorbed in the particularthought to the exclusion of all others. Obviously a citta that is habitually one-pointedshould have developed the ek¡gra saµsk¡ra by prior abhy¡sa (practice), either inthis birth or heretofore. Ek¡gra and nirodha are the two deep mental states that yogais interested in. In both cases the yogi is said to be in sam¡dhi. Nirodha means “toprevent the movement” of the mind, or citta, “always and completely”; nitar¡m(always) rudhyata (stops) is nirodha. My teacher sometimes explained nirodha dif-ferently, taking the preposition ni as meaning “not,” in which case nirodha wouldmean “not preventing” rather than “always preventing”; nirodha, then, is not pre-venting the mind from being free from involvement in saµs¡ra.

Patañjali’s Yogas¶tras contains four chapters. The first is sam¡dhi p¡da, or thechapter on sam¡dhi. Sam¡dhi is not an end in itself but a means of thorough under-standing, or prajñ¡. The objective knowledge attained by a yogi is unambiguous andis naturally different from the understanding arrived at in a distracted state(vikßipta). The first chapter deals with both kinds of sam¡dhi, the one used forprajñ¡ or yogic knowledge, and the other, objectless sam¡dhi, arising out of nirodhapractice, leading to the absolute quietude of citta. When citta becomes absolutelyquiet, without any active state or feeling (pratyaya), then the Self (purußa), whichis pure consciousness, remains in its true form or state, undistributed. It is unlike the

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other stage when it is invariably required to observe the various states of citta—acquisition of knowledge (pram¡∆a), confusion (viparyaya), imagination (vikalpa),sleep (nidr¡), and remembering (smƒti). These mental levels can be explained by ananalogy. Take the case of a cloudburst. All the water that falls from the sky is scat-tered over a wide area. If some of this water flows down a drain, this can be com-pared to the mental energies in the state of kßipta (wasted). When the water seepsinto the ground and cannot be utilized, it can be compared to m¶∂ha (covered). Thenthink of the rainwater collecting in small puddles at different places. Some of thiswater can be utilized, and this can be compared to a state of vikßipta, a state inwhich the mental energies are put to proper use only partially. In the case of therainwater slowly collecting and flowing along the path of a river (toward the ocean),the flow is controlled by the banks, guided as it were, and it is unidirectional. Thiscan be compared to ek¡gra, being one-pointed or unidirectional. The case of theriver being blocked by a dam or an anicut so that the water is held in a huge reser-voir, the case of water flowing into a large lake embanked all around by bunds, thecase of a whole river stopping or freezing because of intense cold—these are exam-ples that may help to understand the state of citta in nirodha.

How does the adept attain the state of mind in which he or she can habituallyrefuse to entertain any thoughts, refuse to react to any stimulus? People in the firstthree stages of mind will not be able to experience that stage, merely because theircittas are habituated to distraction. But one in a million may be born (possibly owingto previous saµsk¡ras) who is not habitually distracted. Such a born yogi is said tohave a sam¡hita citta, a balanced and contented mind. The first chapter gives thenecessary theoretical background so that the sam¡hita citta’s already pure mind willdevelop ek¡grata or nirodha, as the case may be. The ultimate aim is to attain self-realization. How does a sam¡hita citta attain the state of nirodha, leading tokaivalya? As mentioned earlier, citta can flow in two different directions—towardgood and toward evil. According to Yoga and S¡µkhya, that which flows in theinward direction of discrimination (of purußa and citta) ending in the Self, remain-ing in its true, pure conscious nature, which is also known as independence(kaivalya), is said to lead to a favorable goal. On the other hand, if the citta runs inthe direction of pravƒtti, arising out of a nondiscrimination (aviveka), it leads to evil,rebirth, the threefold sorrows, and it could go on endlessly birth after birth. Whilem¶∂ha and kßipta people are invariably inclined toward pravƒtti, the vikßipta cittais at a crossroads. The sam¡hita citta, however, already has in place the tendencytoward discrimination and subsequent self-realization. To strengthen that tendency,practice (abhy¡sa) and renunciation (vair¡gya) are the widely suggested meansthroughout the Vedic philosophies and ≈¡stras.

A sam¡hita citta has already acquired a state of tranquillity through previouskarma or by the grace of °≈vara. Absence of the commonly experienced states of

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mental distraction known as citta vƒitti is called sthiti (stationary) or absolute tran-quillity. If the citta, moment after moment, remains in this state, it is called pra≈¡ntav¡hit¡ (flow of peace). This is the most desirable state in which the yogi’s citta mayexist, and the yogi practices in order to remain in that state continuously. Since hismind remains in that state habitually, further practice is not only easy but also desir-able, which is difficult for ordinary mortals without considerable effort andwillpower. This practice (abhy¡sa) is the attempt to remain habitually in the stateof mental tranquillity. This practice, when done continually for a long time andwithout interruption, and supported by the requisite reverent and authentic study ofthe scriptures on yoga, will result in the citta getting a firm foundation for proceed-ing along the path of self-realization.

What are these citta vƒttis that Patañjali expects the yogi to transcend? Can thecitta remain in the state that is beyond the stage of vƒttis? The five vƒttis are (1)pram¡∆a (acquiring correct knowledge); (2) viparyaya (active state of wrongimpression or mistaken knowledge); (3) vikalpa (mental activity of the imagina-tion); (4) nidr¡ (dreamless sleep); and (5) smƒti (remembering). What are themeans of obtaining correct knowledge? According to P¡tañjala yoga, they arepratyakßa (direct perception through the senses), anum¡na (inference), and ¡gama(scriptural testimony). Other philosophical schools have different views aboutobtaining correct knowledge. C¡rv¡kas believe in only one means of right knowl-edge, direct perception. Vai≈eßikas rely almost entirely on perception and infer-ence, though they are an ¡stika school. Bauddhas also believe in perception andinference and not on scriptural testimony. S¡µkhyas and followers of Yoga addverbal testimony or the scriptures. The Ny¡ya school of philosophy adds compari-son (upam¡na) as well to obtain correct knowledge. The M•m¡µs¡s’ pr¡bh¡karaschool also admits presumption, while the Bh¡tta school and the Ved¡ntins add thesixth category of nonexistence (abh¡va). Those who follow mythology (Pur¡∆a) addtwo more, probability and traditional belief (aitihya).

Even as Patañjali would expect the yogi to transcend all the vƒttis to attainapavarga, or total release from saµs¡ra, he also acknowledges some aspects ofvƒttis as favorable (akliß†a) to obtain apavarga and others unfavorable (kliß†a). Inthe case of apavarga, the most favorable vƒtti will be ¡gama pram¡∆a. Whilepratyakßa pram¡∆a may be the most valid as far as sensory perceptions and worldlyknowledge are concerned, spiritual knowledge cannot be obtained by ordinary sen-sory perception or inference. Hence, for spiritual knowledge, scriptures are thestarting point. Having studied and understood the scriptures, yogis make use ofinference or anum¡na to confirm by logic the validity of spiritual teachings. Forinstance, Patañjali uses anum¡na to show that the purußa has to be immutable bystating that since all the vƒttis of the individual citta are constantly experienced,there has to be a conscious nonchanging principle, which is purußa. Then by deep

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meditation and absorption (sam¡dhi) of a yogic practice, the yogi’s citta directlyexperiences or “sees” the true nature of the Self. That knowledge, valid knowledge,is also called pratyakßa (direct perception). But it is special because of its uniquenature; it is called yogic (direct) perception (yougika pratyakßa). Thus true knowl-edge of the spirit starts from the scriptures and is reinforced by anum¡na, and theyogi, by the methodology detailed in the yoga ≈¡stra, is able to experience directlythe spirit within. The same approach is advocated by the Ved¡ntins. In theBƒhad¡ra∆yaka Upanißad, the call is to directly perceive (draßtavya˙) the ¡tman(indwelling spirit) by first studying the scriptures (≈rotavya˙), then by deep medita-tion and contemplation infer (mantavya˙), and finally by yogic sam¡dhi (nidhidhy-¡sitavya˙) directly experience, the spirit.

Viparyaya is the mistaken impression about an object. In spiritual matters, theimpresson that the ego (the I-locus in the citta) is the Self, even as they are two dis-tinctly different principles (tattvas), according to the ≈¡stras, is a mistaken impres-sion. There are several other instances in the day-to-day observations that indicateone’s citta is in a state of misapprehension. Here the main purpose is to point outthat one does not have the correct knowledge about the nature of one’s own self.Viparyaya is a misconception (mithy¡), and it can be removed by the correct per-ception of the self through the practice of sam¡dhi. Except for those who are spiri-tually awakened, the refrain is that everyone is in a state of viparyaya so far as theknowledge of one’s own self is concerned. Like the dream self that vanishes as anonself when one wakes up, the wrong identification (viparyaya) of the citta withregard to the nature of the Self (that is, as ego) vanishes when the correct knowl-edge of the Self dawns in the mind. Vikalpa, the third vƒtti, is different frompram¡∆a and viparyaya in that it depends on words and impressions, or words with-out an object. Many poets can be faulted on this account.

Once a destitute, dimwitted devotee of Lord ˛iva came to know that the authorof the best piece of original poetry in a competition at the king’s darbar (assembly)would be honored with a bag full of gold coins. He prayed to the Lord for help, andLord ˛iva wrote an exquisite poem, which, among other things, praised the beautyand natural fragrance of the divine Mother’s tresses. Our destitute friend recited thestanzas, and the king, himself a great devotee of the Lord, was immensely pleasedand decided to honor the poet with the prize money. K•ra, the palace poet, sprangto his feet and objected to the decision of the king, stating that the poem was flawedbecause even though it was grammatically correct, to state that hair would have anatural fragrance was not factual, and thus the poem suffered from an objectiveflaw. In effect, K•ra said that it was only in the imagination of the poet that such afragrance existed. This is an example of vikalpa. The story goes on to say that Lord˛iva became furious at the impertinence of K•ra, and challenged him as to whetherhe dared say that about the hair of the divine Mother, whom he worshiped dearly.

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K•ra is said to have remarked firmly that a flaw is a flaw even if the Lord wouldopen his third eye and direct his wrath on K•ra.

Nidr¡, or sleep, is the next function of the citta. Many people object to catego-rizing nidr¡ as a vƒtti, saying that vƒtti, or a function, requires movement or change.But when something is restrained, or when an object is stationary requiring effort toremain at a place, this is evidence of a function. Hence, sleep is considered a vƒttiof tamas, one of the three gu∆as. It restrains other vƒttis. Smƒti is remembering. Thiscould be beneficial or otherwise, depending on whether it is going to help or hinderone’s spiritual progress. Remembering the sayings of the scriptures or the infer-ences based on the ≈¡stras is beneficial. Other memories may not be beneficial, asthey may not help in kaivalya, or apavarga, of the citta. The cessation (nirodha) ofall these functions of the citta is the ultimate good. Except for the most evolved, itwill not be possible. Patañjali adds a rider that some of the functions (vƒttis) arefavorable to achieving nirodha and others are not.

A young man once lost a precious possession. He did not know where or whenhe had lost it. He went out of his house and went on searching day in and day out.He continued his search for many days and years, and became a tired old man. Oneday during his clueless search, he met an old well-wisher who inquired after hiswelfare. He narrated his plight. The friend told him that the priceless object couldbe found only in his home, and that he should return there to find it. Even though hissearch had ended, he had to return to his house and take possession of his dear trea-sure. Since he had lost his way, the old man gave him directions for the return jour-ney, mentioning all the milestones he would find on the way. The story holds thathe completed the return journey as advised and found his treasure. Thereafter, hedid not have any other function in the matter of finding the lost treasure. Here thewise old man is the anu≈¡sana (scripture, ≈¡stra). It gives all the direction necessaryto find the purußa, the treasure. The return journey is akin to the akliß†a (favorable)function of the citta. The anum¡na (inferences) are the milestones, and the directseeing of the treasure is the direct perception of the purußa, the priceless and uniquetreasure.

Abhy¡sa and vair¡gya are the means that facilitate the return journey(apavarga). The S¡µkhyas refer to abhy¡sa (practice) as the practice of deepinquiry into the twenty-five principles (tattvas) such as “this is prakƒti, those are thefour subsets of five principles (five tanm¡tras, five bh¶tas, five karma indriyas, andfive jñana indriyas), and the three internal instruments (the mind, intellect, and ego-locus). The deep inquiry referred to here is known as sam¡dhi in yogic parlance.When such an inquiry is made, the correct, direct perception of the twenty-fifthtattva, the purußa, or the indwelling consciousness principle, takes place in the cittawithout any error (viparyaya) whatsoever. The S¡µkhyas say that the three erro-neous impressions about the self are overcome and in the citta what is not the self

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becomes clear, as this passage from the S¡µkhya K¡rik¡ illustrates: “The twenty-four principles, other than the Self, are not mine (na me). I am not (n¡ham) thetwenty-four tattvas, they are not ‘me.’ I do not exist (na asmi) in the twenty-fourtattvas (because as pure consciousness I am different from them).”

When clear knowledge dawns in the citta, consequently the citta withdraws fromall its vƒttis (functions). According to S¡µkhyas, the only way by which a citta canattain a state of nirodha is by the correct understanding of the twenty-five princi-ples. A person with such understanding is known as one with the knowledge of thetwenty-five principles (pañca vim≈ati tattv¡jñ¡˙). The means to this end is abhy¡saon the principles (evam tattv¡bhy¡st¡t). Hence, abhy¡sa is to be taken as a techni-cal word. To drive home the point that correct abhy¡sa is the key to self-realization,S¡µkhyas say the external appearances or the stages in life have no relevance. Itdoes not matter if one has a tuft of hair (≈ikh•), a shaved head (mu∆∂•), is long-haired (ja†•), or in any of the four stages of life, only the exact knowledge of thetattvas will get permanent release (kaivalya) from the threefold sorrows. The wordsam¡dhi here is used in the sense of deep unwavering contemplation (samyakadh•yata iti sam¡dhi˙).

Vair¡gya, or dispassion, is the next means of apavarga. Having known all theprinciples, and having known that all the twenty-four tattvas of prakƒti are neitherI nor mine, the citta develops dispassion toward all the twenty-four principles, andthat is called vair¡gya. The terms vair¡gya (renunciation) and viveka (discrimina-tion) are such common household terms in many Hindu families that they arealmost taken for granted. In fact vair¡gya, which should be done in a positive spirit,is commonly but mistakenly thought of as a willful or even perverse negation of allwants. Vair¡gya, or desirelessness, is difficult to practice, but for a sam¡hita citta,it is a natural and enlivening state of mind and practice. When the mind becomesindifferent (a) to worldly things observed through the senses and the pursuit ofmaterial objects, status, power, etc.; (b) to those things promised in the karma por-tions of the Vedas that result from performing such rites as a≈vamedha, such asreaching the height of the heavens; (c) to remaining in the subtlest states, includ-ing reducing to tanm¡tra bodies, becoming a celestial being, and so on; (d) toachieving the various siddhis mentioned in the texts; (e) to finding, owing to deepstudy, every acquisition to be ephemeral and causing pain, resulting in repeatedbirths and deaths, pleasure, and sorrow, then such a detachment is called va≈ik¡ravair¡gya, or thorough detachment. Naturally, this va≈ik¡ra state of vair¡gya of thecitta is not reached in one stroke. The ancients, to aid this practice and also by wayof milestones to ascertain progress in vair¡gya, mention three preceding levels ofdesirelessness. The first is known as yatam¡na, or the stage of attempt. It is to goon attempting not to engage the sense instruments, the eyes, ears, organs of speech andprocreation, and so on, in their objects for sensual enjoyment. When one is successful

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to a certain extent in the yatam¡na stage, one’s attachment toward some objects ofthe senses is completely eliminated, and toward others, greatly weakened. In fact,many Hindus attempt this by means of vows (vratas). Eka patn•vrata (one person,one spouse), as opposed to promiscuity; abstinence for specific periods; control ofone’s diet by taking only sattvic food (conducive to nivƒtti thoughts) and rejectingthe rajasic foods that make one highly aggressive and hyperactive, and tamasicsubstances like alcoholic beverages, which produce dullness and stupor, are exam-ples of some of these vows. After this practice of self-control, there is a generaldisposition toward renunciation itself, arising out of mental clarity and a sense ofwell-being. Maintaining this level so that this partial self-control is firmly estab-lished is called the vyatireka stage. When this practice of abnegation is extendedto all sense objects, and one loses completely all interest in pleasurable sensationsso that only citta, the eleventh organ, or anta˙kara∆a, retains the attachment in theform of old habits (saµsk¡ra), it is called ekendriya. Through further practice,when the mind by discrimination realizes the ephemeral character of itself, it iscalled viveka (discrimination), and one is said to have reached the fourth stage ofvair¡gya. There are many authorities on Indology who have concluded that theHindu philosophies are dismal ones and are pessimistic. Anyone who reads thevair¡gya portion contained in Yoga or Ved¡nta will naturally concur with thisview. S¡µkhya, the theoretical basis for Yoga, states that all of phenomenal exis-tence is suffering of only three kinds. Furthermore, the other great philosophy,Buddhism, was born out of a great soul’s intense feeling of despair on seeing themisery of all human beings. Hence, such people tend to become desireless and stillreach the stage mentioned in Yoga. This is definitely a negative approach, in thatthose who are highly sensitive—as, let us say, is the eye when compared to the restof the body—develop vair¡gya naturally. But Patañjala yoga recognizes that thisvair¡gya is of an inferior nature. Such persons become merged in the feeling ofexistence stated above (bhava, existence, pratyaya, awareness) and subsequentlyget the power to concentrate completely and master the entire prakƒti, in its grossform, in its subtle form, or merged in the feeling of bliss or pure “I exist” feeling.It is also known as samprajñ¡ta sam¡dhi, or objective-knowledge-producingsam¡dhi. On concentrating on the feeling of desirelessness (vair¡gya) and by prac-tice, they remain in that state.

The apara vair¡gya of four states mentioned above may lead to a citta thatbecomes habitually nonresponsive to external stimuli. It does not lead, however, toself-establishment (or realization). To achieve an unbroken state of nirodha, for itspermanent establishment in one’s own true nature of total consciousness, knowl-edge of the principles mentioned earlier is necessary. Thus, after completely under-standing the state of the observable prakƒti, one practices va≈ik¡ra vair¡gya andattains a state of nirodha. If, however, it is continued with the positive knowledge

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of the pure state of one’s self, the vair¡gya becomes strengthened. There is now aprop for the citta to remain quiet, as it knows that what is achieved is not merelydue to a reaction from pain but is derived from the positive knowledge of the truenature of the Self. This is known as paravair¡gya, or the highest vair¡gya. Thedesirelessness (vaitƒßnya) toward the ever-changing, qualitative, phenomenal,painful existence is fortified by the positive knowledge of one’s own Self. Itrequires earnestness in the study of nivƒtti texts, enthusiasm to reach the goal, andconstant deliberation in the mind, leading to total absorption (sam¡dhi) of Self,resulting in perfect knowledge of the Self. This is the right royal path of yoga,according to Patañjali. It is thus the most optimistic philosophy, since it tells theaspirant about the highest goal of human existence and the definite means ofachieving it.

Some more thoughts on vair¡gya may be relevant. S¡µkhyas point out thatwhen the citta, or, more particularly, when the buddhi is sattvic, it can go in thedirection of dharma (order), jñ¡na (incisive spiritual knowledge), vair¡gya (dispas-sion), or ai≈varya (mastery of prakƒti, or nature). Except for those in the second(jñ¡na) group, the rest, without the correct perception and knowledge of the Self,tend to work toward achieving higher levels of happiness (dharma and ai≈varya) oravoiding unhappiness (vair¡gya). The dharmis who faithfully follow the ritual wor-ship and similar prescribed and optional (k¡mya) procedures elucidated in theVedas and subsidiary scriptures reach different heavenly abodes (svarga) andbecome gods and angels (videha). Then there are those that are pain-shy who with-draw into some aspect or other of prakƒti, say a tanm¡tra or asmit¡. They are calledprakƒtilayas (those that merge with an aspect of nature). This itself forms the foun-dation of layayoga. S¡µkhyas say that from vair¡gya, laya takes place (vair¡gyatprakƒti laya˙). Third are those who develop the capacity for contemplation(sam¡dhi), master the entire universe, and attain supernatural powers (ai≈varya)called siddhi or vibh¶ti, and this is a yogi’s approach, albeit of a lower order—lowerwith respect to the nirodha yogis. What is common in all three—the ritualists, therenunciates, and the siddha yogis—is that even as their citta is highly sattvic,because they lack the distinctive knowledge of the Self (viveka), they tend to havethe attitude (pratyaya) of existence (bhava). The overriding concern of all three isthat they must continue to exist forever (bhava pratyaya) with more happiness andless pain. Patañjali says those who have the I-should-exist-forever desire may fol-low any one of the three approaches and become videhas (gods or angels) or prakƒti-layas (laya yogis). On the other hand, a viveka jñani, one who has knowledge aboutthe dichotomy between the entwined principles of purußa and ahaµk¡ra (egolocus), is able to reach a state of kaivalya or permanent freedom. This pratyaya, orattitude, is dominated by—according to Patañjali—complete desirelessness(vir¡ma = let there be an end to saµs¡ra). And it is achieved by incessant practice

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(of the twenty-five principles) until the entire citta is transformed into one with thesaµsk¡ra (habit) of not engaging in either pravƒtti or nirodha. The time it takes,which may be one or many births, will depend on the intensity of the practice. Thosewho practice yoga with great intensity (t•vra) get results quickly, and others areclassified as either lethargic, moderate, or earnest in their practice and attain resultsin due time, even extending over several births.

It has been mentioned that vair¡gya and tattva abhy¡sa are the means of attain-ing the nirodha of citta. To the question of whether there is any other means ofachieving the ultimate goal of a yogi, which is kaivalya, Patañjali suggests a sec-ond but equally important means known as °≈varapra∆idh¡na, which is a specialdevotion (bhakti vi≈eßa) on the part of the devotee/yogi. It is a method of prapatti,mentioned earlier. °≈vara, or God, is a special purußa, but unlike individual souls, itis unaffected by afflictions (kle≈a), deeds (karma), the results of actions (vip¡ka), orthe desire for action and results (¡≈aya). In Him are contained all knowledge inpotential form, He being omniscient. He is the first preceptor, especially of spiritualknowledge, but transcends time and space. He responds and manifests to the devo-tee through repetition of the most sacred mantra, the pra∆ava (OM). Pra∆ava liter-ally means “the highest praise,” arising out of devotion. The repetition of OM,pronounced AUM, is known as japa, which is done while contemplating the secretmeaning of the sacred syllable. Such deep meditations further help to remove allthe obstacles confronting a yogi in his quest for self-realization. All deeds andresults thereof are dedicated to Him in a spirit of loving and offering, with simulta-neous total surrender. The obstacles that are overcome with °≈varapra∆idh¡nainclude distractions such as sickness and others such as attachment to yogic statesand subsequent slipping to lower states. These are definite distractions a yogishould try to avoid. The symptoms of such distractions are a heavy heart resultingfrom sorrow, and also dejection, tremulous movements, and heavy breathing.

Patañjali’s formulation of °≈varapra∆idh¡na, according to my teacher, is themore important or the only means available in this Kali Yuga. He would say thatthe word v¡ in the Yogas¶tras should be construed as meaning “only” and not itsusual meaning as “or.” This corresponds to bhaktiyoga (devotional path) as distinctfrom the path of contemplation (jñ¡na tattva abhy¡sa) propounded by the S¡µkhyasand accepted in toto by Patañjali. The two approaches mentioned in the Yogas¶trashave a parallel in the Ved¡nta dar≈ana, especially in the G•t¡ school. Like theS¡µkhyas’ tattvajñ¡na, Ved¡ntins have developed the jñ¡na m¡rga, or path ofvision (about the nature of Brahman), and bhakti m¡rga, or path of devotion to theLord. There are lively discussions about the superiority or even the validity of eitherof these paths; suffice it to say that both have their adherents. A Pur¡∆ic anecdoteabout the efficiency of each of the systems may be of interest.

Lord ˛iva, with his consort P¡rvat•, was in his abode Kail¡sa. An old devotee

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offered him a delicious mango. Lord ˛iva then turned to his two sons, Gaj¡mukha(the elephant-headed) and ◊a∆mukha (the six-headed), and offered the mango tothe one who could travel around the universe more quickly. Soon enough,K¡rttikeya (or ◊a∆mukha) mounted his peacock v¡hana (vehicle) and in a flashstarted to fly around the universe. He knew that his obese and phlegmatic brotherVin¡yaka (Gaj¡mukha), using his m¶ßika vahana (mouse vehicle), could never be amatch for his speed. Hewas sure to win the con-test and get the covetedsweet mango.

Vin¡yaka had his ownstrategy. He held hishands in añjali (salute)and went around his par-ents, ˛iva and P¡rvat•,with great reverence.After completing thepradakßina (the goingaround), he told his par-ents that he had won therace and asked for theprized mango. He said tohis quizzical parents, “You are the universe, my Lord. I have completed your task,and I deserve the fruit, and K¡rttikeya is nowhere in sight.” Sure enough, whenK¡rttikeya completed his round trip of the vast universe, he was flabbergasted tosee Vin¡yaka feasting on the prized mango. That he become very angry and did notaccept the verdict is another matter. He had lost the race. The moral of the story isthat bhakti is easier to practice than jñ¡na. This is especially true in this Kali Yuga.

While on this subject of the bhakti, or devotion, of Vin¡yaka toward the univer-sal parents (⁄di bhagavan), it may be worth digressing a bit more to consider thepeculiar deities worshiped in India. How do Hindus worship so many forms, somehuman and others human-animal hybrids? It is generally conceded by religions thatGod created man after Himself. That is to say, if God has a form, He would be liketo a man (or human being). So several Hindu deities have a human form, except thatthey may have more arms to indicate several divine functions. But some deitieshave a human body but the head of a different species. God made man after Him-self, but He also made several other species. So why should not God be consideredto have both a human and an animal form? Then we have several possibilities forviewing the form of God. He can have a human trunk but with the head of the bestof animals. If one considers the elephant to be the most majestic of animals, then

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Vin¡yaka’s prizewinning strategy

we have Vin¡yaka, the elephant-headeddeity with a human body, who is themost beloved deity of all. The lion is theking of the forest, even though man ruleshis habitat. So we have Lord Narasimha,the man-lion incarnation of Lord Viß∆u.The horse is one of the fastest animals,and it is a very lovable, intelligent ani-mal that can be trained by a human. It isused in war and to travel long distancesand proves its usefulness continually.Thus we have Lord Hayagr•va, consid-ered the deity of knowledge, Vedicknowledge. He is said to save theVedas, the repository of spiritual knowl-edge and dharma, at the end of eachyuga. He has a human body and thehead of a horse. There are several peo-ple who are fascinated by the reptilespecies. The cobra is the most ven-omous, but again highly respected andworshiped by different groups in India.Patañjali is an incarnation of the cobra⁄di≈eßa. Patañjali is depicted as having

a human form but with a thousand cobra hoods.Whenever a sam¡hita citta slips into a state of distraction, because of nonobser-

vance of yogic practices, he could regain his original state of mind by ekatattv¡bhy¡sa (meditation upon one principle). What is that one principle? It couldbe a reiteration of the °≈varapra∆idh¡na, to indicate that by surrendering to the oneunique tattva, °≈vara, one could regain the citta’s sam¡hita state. According to someauthors mentioned by my teacher, ekatattva refers only to °≈vara. It makes sense totake ekatattva as °≈vara, because S¡µkhyas have mentioned the pañca vim≈atitattva (twenty-five principles), the knowledge of which will lead to kaivalya, and,in contrast, Patañjali offers the alternative of knowing one principle alone. Refer-ring back to the mango story, Vin¡yaka went after the one principle (°≈vara), andK¡rttikeya, the twenty-four principles (prakƒti). Patañjali also suggests the use ofseveral other classical and traditional methods to regain mental equipoise when-ever the mind deteriorates to a state of vikßepa (distraction), manifested by the foursymptoms mentioned earlier. These classical methods are discussed next.

Since the yogi is after self-realization, he or she needs to develop a citta that is

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⁄di≈eßaVin¡yaka

NarasimhaHayagr•va

not distracted by the attitudes of others toward him or her or toward others. Patañ-jali divides humanity into four attitudinal groups. It is said that the yogi shoulddevelop and practice a spirit of friendliness (maitr•) toward those that are contentedand hence happy (sukh•). Then there are those who suffer from the three types ofmental afflictions (du˙khi); toward such unhappy mortals he should feel extremecompassion (karu∆¡). Those that tread the path of virtue (pu∆ya), engaged in pre-scribed duties and working toward the welfare of society, evoke in the yogi a spiritof goodwill and appreciation (mudita). But then to those who are influenced bytamas, who are steeped in indiscriminate actions and vice and cause suffering toothers, he will be indifferent (upekß¡). This attitudinal orientation of the yog¡bhy¡s•gives rise to an untainted pure citta (citta pras¡da), and a purified mind regains one-pointedness and becomes serene. This particular method is prescribed in many reli-gions and philosophical books in India. One of the mantras in the Lalit¡Sasharan¡ma of the Brahm¡∆∂a Pur¡∆a refers to this practice. The prayer is to thegoddess Lalit¡ to give the devotee a boon to change his attitude so as to attainserenity and be able to meditate upon the mother (maitry¡di v¡s¡na labhya˙). Ihave seen some Buddhist treatises commend these attitudes as a part of the processfor purification of the mind.

The second classical method of cleaning the citta is a special pr¡∆¡y¡ma. Herethe object of contemplation is pr¡∆a itself, with the emphasis being on “breath con-trol,” especially long exhalation (pracchardhana) and retention after exhalation(vidh¡ra∆a). This practice, which can be done easily by many, requires some guid-ance. An awareness of pr¡∆a movement (sanc¡ra) is necessary. It will have a bet-ter effect if it is done with mantras, which practice is known as samantrakapr¡∆¡y¡ma. The use of mantras, however, requires proper initiation. Patañjali’sS¶tras give the quintessence of ha†hayoga: ha†hayoga is pr¡∆¡y¡ma, and inpr¡∆¡y¡ma the essential element is recaka, or exhalation. My teacher used to saythat all yoga accomplishments become possible with the efficiency of recake bala(the capacity for recaka, or long and complete exalation). Pracchardhana means toempty the lungs completely—as the stomach becomes empty when one vomits.After exhalation, one should develop the capacity to retain the breath out (vidh¡-ra∆a). During the period of b¡hya-kumbhaka (external retention of the breath), thebandhas can be practiced, through which the union of ap¡na and pr¡∆a can takeplace. There are other schools that recommend the use of pr¡∆¡y¡ma mantra afterexhaling; normally, a mantra is recited mentally when the breath is held in. Thera-peutically, this vidh¡rana has tremendous potential, as it becomes possible to accessseveral internal organs (ko≈as) by means of the bandhas, including the heart(hƒdaya ko≈a). There is yet another practice called vißayavat• pravƒtti. It is commonknowledge that objects are perceived through the sense organs—they are felt,smelled, seen, heard, or tasted. Without the objects, however, it has been found that

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yogis can get various sensations—of a higher order—by concentrating on specificcenters or places in the body. From where the sensations arise, it is possible, underproper guidance, to focus attention on these specific centers to obtain mental fixity.The n¡s¡gra is the spot of higher smell perception that helps to fix the mind firmly,and, it is believed, helps remove doubts. Similarly one may direct attention to a spotbetween the eyebrows (bhr¶madhya)—the center of sight. That practice, calledr¶pa pravƒtti, is a necessary means for devotees to meditate on the form of the per-sonal deity.

When such one-pointed attention leads to intense concentration, the sensationsthe yogi has are out of the ordinary. Several yogis have expressed reservationsabout this exercise, however, as it may take the yogi astray and lead him toincreased involvement with objective pleasures and siddhis. My teacher used to saythat according to his guru, a yogi can do without this particular practice of vißaya-vat• pravƒtti. Yet another practice calls for attention on the principle of light (jyoti),the practice itself being known as jyotißmat• vƒtti. This is the realization that allhigher and divine experiences take place in the region of the heart (hƒdayakamala).It is said that the heart lotus is normally closed and looks suspended. It is in the heartlotus that the various feelings associated with the ego (ahant¡ and asmit¡)—thelocus of self—are said to be established. It is thus the seat of the j•va, and manyUpanißads and up¡san¡ portions of the Vedas commend this practice. Thus, bydirecting the attention to the heart region, and particularly the center, and by imag-ing the soul in the form of a bright light (jyotiß), one’s mental energy becomesfocused and the mind becomes free from sorrow (vi≈oka). This is a classical medi-tative (up¡san¡) practice mentioned in the Vedas, and it is called dahara vidy¡ (theart of meditating within the heart). It is common knowledge that depression (≈oka)is removed by light. In a state of depression, the cave of the heart (dahara) appearsdark. But by positing the idea of light from the purußa remaining in the heart, thisnegative emotion can be eradicated. A passage in the Taittir•ya ⁄ra∆yaka thatstarts with “Jyotißmat•m tv¡ s¡dhay¡mi” is a prayer to the soul to brighten the heartlotus. According to Bhatta, a well-known commentator, this prayer praises the lightof the soul (purußa) in twelve epithets, although S¡ya∆a, another renowned com-mentator, relates these mantras to the consignment of the body to the fire. In the lastchapter of the Yajur Veda, the idea of vi≈oka, a state free of depression, is attrib-uted to the purußa (soul), which is described as being smaller than an atom (a∆u)and also greater than the greatest phenomenal principle (mahat, the first evoluteaccording to the S¡µkhyas). By meditating upon the light of ¡tman (purußa), thedepression (≈oka) goes away and the subject experiences immense bliss. TheMah¡n¡r¡ya∆a Upanißad, in the passage praising the sanny¡si (renunciate), exquis-itely describes the supreme soul inside the heart, which is seen directly by thesanny¡si, who then becomes free from ≈oka (vi≈oka). The classic Purußas¶kta

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(prayer on the supreme indwelling purußa, or soul) describes the light as resemblinglightning. The tr¡taka practice of ha†hayoga is in conformity with this Vedic prac-tice. The Upanißad prayer Tamaso m¡ jyotir, gamaya is again a prayer for leadingthe yogi from tamasic darkness in the heart to the effulgence of the soul. Sheddingthe desire (v•ta r¡ga) for external objects and sensations (vißaya) by constantinquiry is another method, which is a very important practice to those who followthe vair¡gya approach to kaivalya, or independence. It is also recommended thatone repeatedly think of a person (saint) who is desireless. God, in His boundlesscompassion—as the people who follow the path of surrender proclaim—createsgreat spiritual souls for the benefit of every generation as objects for contemplationand subsequent emulation. Thus, many devotees of extraordinary spiritual person-ages do get mental peace by constantly thinking about their savior or guru. This isa very prevalent practice. Many people travel far and wide to see (dar≈ana) greatsanny¡sis, such as the Param¡c¡rya (since attained sam¡dhi) of K¡nci, and to expe-rience immense peace. If one does not find such desireless people in the commu-nity, one may meditate upon such epic figures as ˛uka, Sad¡≈iva Brahmendra,˛a©kara, and others, and derive mental peace.

It is common experience that out of sound sleep, one gets a relaxed and clearmind. This sleep is known as sattva nidr¡. In some Ved¡ntic literature it is said thatin such nidr¡, the j•v¡tma merges (melana) with the Universal Lord (°≈vara). Byconstantly remembering the pleasant, restful feeling of sleep, one can get a degreeof mental peace. In addition, there are many pious people or devotees who once intheir lifetime may get a divine dream (divyam svapnam) and experience a blissfulfeeling (¡nanda) the like of which they or others may not have experienced in theirnormal waking state. By not ignoring it, but constantly drawing support from thedivine vision, one can cultivate calmness of mind. Several religions accept dreamexperiences as valid, and some religious leaders discuss with their followers theexperience and conversation they may have had with God in their dreams. A moreinvolved explanation for the s¶tra, svapna nidr¡ jñ¡na ¡lambanam v¡ (“by remem-bering dream and deep-sleep experiences”), can be found in Ved¡ntic literature.Study into the nature of sleep and dreams and comparing them with waking stateshas been the source of some great spiritual literature. Arguing that the dream expe-rience and waking states are not materially different, ˛a©kara and otherm¡y¡vadins claim that the waking-state experience is, like the dream, only a vir-tual reality. Further, the absolute reality, the soul, undergoes no change whatsoeverin any of the three stages of waking, dream, and deep sleep. The entire M¡∆∂¶kyaUpanißad, along with the great commentary (k¡rik¡) of Gaudap¡da, have broughtunique inspiration to the understanding of Advaita philosophy. The various religiousrituals, up¡sanas (devotional practices), are also intended for ek¡gra, or mental fix-ity. The Hindu religion is often criticized for the multiplicity of deities (or different

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forms), even as the Vedas proclaim the one °≈vara. This multiplicity is mainlymeant to take account of different inclinations among those who are religiouslyminded. Recognizing this, different methods or gods for worship (mata) have comeinto vogue. ˛r• ⁄di ˛a©kara, the founder of the present-day Advaita school ofVed¡nta, is credited with reestablishing six such major schools of worship, goingback to the Vedic gods. These well-known schools of worship are still prevalent inmany Hindu families, societies, and temples, with minor variations in the forms ofworship. The six forms of worship are those of Ga∆apati, ˛akti, ˛iva, Subrahma∆ya(Kum¡ra), Viß∆u, and S¶rya (sun). The religions are known as G¡∆apatya, ˛¡kta,˛aiva, Kaum¡ra, Vaiß∆ava, and Saura, respectively. Patañjali’s s¶tra yat¡bhimatadhy¡n¡t (1.39) is sometimes commented upon differently, in that the word abhimatacan be taken to mean any object to which a particular practitioner finds his mindbecoming attached. Such an explanation is erroneous, however, and is not accord-ing to the sanctions of the religion to which Yoga claims allegiance. In fact, goingafter an object to which the mind is naturally attracted, owing to sensuality, is thevery tendency Yoga tries to correct, instead recommending that the focus of atten-tion be on divinity. Thus the word yat¡bhimata should be taken to mean “accordingto one’s religious practice.”

The above practices can help one gain mental clarity and fixity of mind, onceone has a balanced mind. When a yoga practitioner is able to achieve mental fixityeasily, then other natural mental states (citta vƒtti) become reduced. Such a mind iscompared to a high-quality transparent crystal, and it can grasp any idea or objectpresented to it, just as a spotless jewel takes on the hue of the objects near it. Theyogi can fix his mind on any place inside or outside his body and its centers, fromthe most minute to the whole of creation (nature). When his contemplation maturesso that the totality of mental energy merges, as it were, with the object of contem-plation, this is known as sam¡patti or sab•ja sam¡dhi. Such accomplishments leadto complete mastery, ultimate power, and supreme objective knowledge.

The awareness of such a yogi is different from the knowledge acquired by ordi-nary mortals whose mode of acquiring knowledge is sensory, mental (inferential), orsecondhand and through authorities. And as this yoga (sam¡dhi) method of under-standing increases, it simultaneously destroys the normal habit (saµsk¡ra) of acquir-ing knowledge through the senses and through inference or acceptance of authority.The highest form of such a yogi’s contemplation is the prevention of even the yogicknowledge-producing practices, in which case the mind develops the habit of becom-ing indifferent to both kinds of objective knowledge. The citta develops the habit ofnot entertaining any idea or thought. This is the highest evolution of the citta, as enun-ciated in the first chapter of Patañjali’s S¶tras. A calm mind (sam¡hita), by the prac-tice of sam¡dhi, becomes a contemplative mind and becomes all-knowing (dharmamegha). Then by further practice the yogi reduces it into the perfect equilibrium of the

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three basic constituent characteristics (gu∆as)—called s¡mya avast¡—the closest pal-pable manifestation of prakƒti. In such a state, the Self—as pure consciousness—remains in its true nature, which is consciousness alone. This is the state of kaivalyafor the self and of nirodha for the citta. That is yoga, P¡tañjala yoga.

According to my guru, Patañjali had four students—Mastak¡ñjali, Krit¡ñjali,Baddh¡ñjali, and P¶rn¡ñjali—which implies four levels of yogic evolution. In thefirst chapter, for the yoga ¡r¶∂ha, the highest yogi, nirodha yoga is explained. Evenhere, one can find shades of difference in the studentship. The first s¶tra is meantto eliminate all nonauthentic yoga practices. The second s¶tra defines what yoga is,and the highest of the highest yogis requires no further elucidation. The next-levelyogi is satisfied when he learns, in the third s¶tra, of the state of the purußa at thetime when citta vƒtti nirodha has taken place. Further explanations of the vƒttis andthe many ways of achieving nirodha are meant for those ¡r¶∂has who need furtheranswers. The alternative method is then detailed for the equally important, but tem-peramentally different, bhakti yogis.

At the end of the sam¡dhi p¡da, then, a vast number of yoga enthusiasts whoseminds require more training even to become fit for nirodha yoga, whose minds arein state of disturbance (vikßepa) and yet who are yoga ¡rurukßu (desirous of tread-ing the path of yoga), still need to be addressed. In the second chapter, calleds¡dhana p¡da, Patañjali thus starts from the fundamentals. This chapter is for theless accomplished.

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5Mantrayoga

Since it’s nature’s law to change, constancy alone is strange.

IN THE SAM⁄DHI P⁄DA CHAPTER of the S¶tras, two types of sam¡dhi—objective and objectless (nirb•ja)—are discussed, with nirb•ja sam¡dhi of citta beingthe ultimate stage for the citta to remain in a state of kaivalya. To achieve this, thehighest form of dispassion (paravair¡gya) was mentioned as the primary means. Thisis possible for perhaps very few in the great sea of mankind, those whose mentalevolution is so high that vair¡gya comes to them easily and naturally. The wholechapter is on the final stage of spiritual evolution and gives the practices appropriateto that style. But what of those who yearn for liberation but whose minds are in astate of perpetual distraction? For them, Patañjali starts from the root causes of dis-tractions and pain and recommends s¡dhana, or more mundane practice.

According to my ¡c¡rya, yogis are divided into three classes in P¡tañjala yoga.The highest or most evolved is the one who starts with a balanced, steady citta(sam¡hita), but the generally distracted aspirants (vyuthita) could be further classi-fied into middle-order (madhyama) and lower-order (manda) aspirants. Bothclasses are dealt with in chapter 2 and in part of chapter 3 of the Yogas¶tras. Forthe manda the yoga of activity (kriy¡yoga) is recommended. Many people, becauseof their obligations to society and family, and also because of their own low levelof (spiritual) evolution, keep their desire for spiritual progress in a dormant level fora long time, until they are free from many of life’s obligations. This aspect is

acknowledged in the well-known Hindu approach to the different stages of life, or¡≈rama, which consist of first, the stage of a student (brahmac¡ri); second, the fam-ily man (grahasta); third, the retiree (v¡naprastha); and finally the recluse(sanny¡sin). The latter necessarily have to start their yogic disciplines rather late inlife, and Patañjali, out of great compassion, recommended kriy¡yoga for them.

What is kriy¡yoga? Kriy¡ eva yoga, where action alone is the predominant fac-tor, is kriy¡yoga. It is basically a purification process of the aspects of action, ofbody (k¡yika), speech (v¡cika), and mind (m¡nasika). The three parts of this yogaare tapas, sv¡dhy¡ya, and °≈varapra∆idh¡na. The word tapas, like dharma, is verywidely used and encompasses different shades of meaning. It is a Vedic word, andthose who are adept in tapas are called tapasvins, many of whom are subjects ofadulation in the Pur¡∆as. Without tapas, no yoga is possible: Na atapasvino yoga˙.Tapas means “to heat up intensely” (tapa d¡he). Just as intense heat is used to burnaway dross in a nugget of gold, tapas is a well-planned regimen of purification. Itmay be noted that tapas, or austerity, should be such that it does not affect thehumors of the body; one does not want to throw out the baby with the bathwater.Several yoga texts warn against some practices of extreme penance, like fasting forseveral days, or repeatedly doing s¶ryanamask¡ra, a strenuous form of exercise.Brahm¡nanda, a commentator on the Ha†hayogaprad•pik¡, several times warnsagainst doing s¶ryanamask¡ra (sun salute)—as is vigorously advocated these daysby many yoga exponents (bahu s¶ryanamask¡ram vrajet). Fasting on ek¡das• (theeleventh day after a full or new moon) is acceptable. But a practice such as fastingfor forty days, for example, followed by some adherents of different religions, is notacceptable to a yog¡bhy¡s•.

Moderation in food and diet is also tapas. Sad¡≈iva Brahmendra, a commenta-tor on the Yogas¶tras, says, “hita, mita, medha ¡≈anam tapa˙.” Tapas is partakingof food that is hita or nourishing, easily digestible, and basically sattvic. What aresattvic foods? Several texts catalog them. Some, like the Ha†hayogaprad•pik¡,would ask the practitioner not to eat food that is not helpful to yoga, such as rajasicand tamasic foods and those that are sour, pungent, hot, or spicy. Mustard, a verycommon item in Indian food, is to be avoided. So should the yogi avoid tamasicalcohol and rajasic meat, fish, and so on. Yogurt, especially at night, should beavoided, as should jujube fruit, oil cakes, some hard peas, asafoetida—a favoritespice in south Indian food—and also garlic and onion. Why garlic and onion? Eventhough they are supposed to have health benefits, they are to be avoided by a yogi,as both are supposed to be non-sattvic foods. Why so? A Pur¡∆ic story may not beout of place here.

The devas (good angels) were repeatedly defeated by the asuras (demons). Asis their wont, the devas approached the Lord and pleaded that since good has toovercome evil in the scheme of things, they should be able to defeat the asuras and

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remain immortal. Immortality can be achieved, so the myth goes, by the devasbeing able to obtain nectar and drink it. But it could be obtained only by churningthe milky ocean with the help of huge Mount Mandara as the axis of the churn, theserpent V¡suki as the rope, and the devas and asuras holding V¡suki at either end.The devas could not accomplish this stupendous task by themselves, and the onlyway they could get additional help was by roping in the asuras. So they agreed toshare the nectar with the asuras after it was churned out of the milky ocean. Thedevas never had any intention of keeping their word, and besides, the Lord wouldhelp them for the sake of good triumphing over evil! After considerable effort, thenectar was churned out and contained in a pot. The devas and asuras sat in separaterows awaiting the distribution of the nectar. Now the problem was how to deny thedemons their share of the precious nectar. If they also tasted it, parity would pre-vail, and the whole exercise would end in futility. It could even be worse: If theasuras became immortal, they would forever defeat the devas and dominate theuniverse, with evil (adhama) ruling always. Hence the Lord took the form of abewitching damsel, named Mohin• (one who bewitches others with moha, or aspell), and went about distributing nectar to the devas first, instead of alternatelydistributing it between the two rows (slightly different versions of this story appear,but what is important is that the asuras were cheated). The asuras looked at Mohin•as if spellbound, without noticing that they were being deprived of their share rightunder their noses. Toward the end, however, two of the asuras, realizing what washappening, crossed over to the other side and managed to get just a drop of the nec-tar, the last drops from the vessel. Except for R¡hu and Ketu, none of the asuras gotto taste the fruits of their hard labor. S¶rya and Candra (sun and moon), membersof the deva clan, realizing that two of the asuras had tasted the nectar, beat them up(or the Lord beat them up with the ladle, aided by the two devas). The two hurtasuras spat blood and phlegm, but did not die, since they had taken the nectar, albeita small portion.

What is the relevance of the story? From the blood and phlegm that fell on theground sprouted two species of plants—onion and garlic. These two have medicinalvalues because they have traces of nectar in them. But since they were from theexcretions of asuras, who are basically non-sattvic, people who eat them tend todevelop rajasic and tamasic or asuric characteristics that are antagonistic to thesattvic quality the yogi wants to strengthen in himself. Hence, these are taboo for ayog¡bhy¡s•. Reheated food is also to be avoided. Cooked food kept for more thanthree hours is not fit for consumption, according to the G•t¡. In this microwave age,freshly cooked food is a rarity. Foods with an excessive amount of salt and that areacidic (such as the tamarind dishes of south India) are also to be avoided. Food thatis hard to digest, such as those made of ulud, a high-protein lentil (and compared tomeat by conventionalists), are likewise to be avoided. Other practices such as using

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a heater (with naked flames) in cold season (rather than blankets), long travel, andhard labor that requires spending a large amount of calories (some yoga classes aregood examples) should be avoided as well.

Which food items are agreeable to a yogic way of life? Wheat and wheat prod-ucts, rice, cow’s milk, ghee (melted butter), rock salt (small amounts), honey, gin-ger—preferably in a dried form—vegetables—especially those that are grownlocally—cucumber, fresh water, and fruits are good, and the food is to be offered toa favorite deity before eating. It is customary in many households in India reli-giously to offer cooked food to the deity after daily p¶j¡ and before having lunch.Such food offered to the deity and then eaten, called pras¡da, is said to increasemedhas (offerings to God). The Upanißads stress the need for taking sattvic food.The Ch¡ndogya Upanißad proclaims, “¡h¡ra ≈uddhou, sattva ≈uddhi˙” (with theintake of pure sattvic food, the citta becomes pure and sattvic). Of course, the term¡h¡ra is given a wider connotation by such stalwarts as ˛a©kara to include all thatis taken into the system—what one hears, smells, touches, sees—apart from food.Mit¡h¡ra or mit¡≈ana (moderation in food) is also part of tapas. Several yoga textspoint out that obesity can be prevented with control over the diet. As a matter ofguidance, it is said that one should fill the stomach with two parts food and one partwater (liquids), and the fourth part should be kept empty, for digestion and to avoidgastric problems. One should stop eating when one feels that an extra helping canbe had. In short, tapas in relation to food is taking sattvic food (hita) in moderation(mita) and after offering it (medha) to God.

Another aspect of tapas is with respect to speech and communication. It is theconsidered view of many yogis, including my teacher, that one who exercises nocontrol over his speech has lost control of his mind. When one tends to talk aim-lessly—such as with gossip and backbiting—the mind tends to get disturbed. Myteacher used to say moderation in speech and food, mit¡≈ana and mitabh¡ßa∆a, istapas. Here again there are extremes—some people resort to total silence duringdifferent parts of the day or for long periods of time. One should speak purposefullyand in such a way that others will eagerly want to hear one. ˛a©kara and ⁄ñjaneyaof the R¡m¡ya∆a are said to be perfect examplars of good communication skills.Mouna, or complete silence, is again divided into k¡ßta mouna and ¡k¡ra mouna.When one does not speak at all, this is called ¡k¡ra mouna, but if one refrains fromcommunicating, even through gestures, this is called k¡ßta mouna. Let me be briefat least with this aspect of tapas.

Tapasvins are those who do tapas and are eulogized in the Pur¡∆as, or myths. Inthem, tapas refers to an extraordinary intensity of purpose that overcomes all diffi-culties and obstacles. Both the gods and the demons have resorted to tapas forachieving their ends—some sattvic (generally good), some rajasic (selfish ends),and some without any motive except the intense desire to have a vision of their god.

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Here is a story fromthe Pur¡∆as. Dhruva, theyoung crown prince, uponseeing his younger halfbrother sitting there,wanted to sit on the lap ofhis father-king, who him-self was occupying thethrone. His stepmother,Suruci, would not allowit, and his henpeckedfather would not inter-vene. Dhruva’s aban-doned mother could donothing except to suggestthat he pray to theAlmighty Lord, Viß∆u(N¡r¡ya∆a). Determinedto have a meeting with

the Lord, the young prince, who was on his way to the forest, was met by N¡rada.The little prince, not even ten, performed enormous tapas, or penance, in the forest,alone, in the cold, in the rain, and in the summer heat, all with single-minded devo-tion. At long last, the Lord answered his prayers and gave even more than had beenasked. His father accepted him and he was made king later on. In addition, the Lordgave him a unique place in heaven, a fixed and permanent place, even as the othercelestial beings have only tenured positions. Dhruva (meaning “steadfast”) wasmade the Pole Star.

In yet another story, Prahl¡da (great bliss) was the son of the asura Hira∆ya-ka≈ipu. He had such great love and devotion for Lord N¡r¡ya∆a that the father,desiring everyone to accept him as a god, subjected him to all kinds of tortures,including drowning him, throwing him into an inferno, and so on. The son’s love forthe Lord never diminished, and he was always doing tapas of the Lord. He saw theLord everywhere. The story ends with the Lord taking the form of a lion-man todestroy the demon king and finally absorb Prahl¡da into Himself (s¡yujya).Prahl¡da exemplifies unadulterated bhakti, as does Bhag•rata, who did tapas stand-ing on one leg (see bhag•rat¡sana) in order to appease Lord ˛iva to let the riverGa©g¡ flow down to earth from the Him¡layas and thus get salvation for his deadforefathers, over whose remains the Ga©g¡’s waters then flowed. The intensity ofpurpose, called tapas, is also evident in the Upanißadic episode of Bhƒgu, whoattained Brahmanhood by intense tapas on Brahman. Bhƒgu asked his father,

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A distraught Dhruva leaving the palace and then attaining peace through tapas on the Lord

Varu∆a, to teach him the nature of Brahman as described in the Vedas. The father,rather than giving a direct definition, gave him the direction or way to attain Brah-man (ta†asta lakßana). “Know that from which all these elements are created andsustained and into which everything merges, as Brahman.” Bhƒgu intensivelythought (did tapas) and found that matter was the source of everything and askedhis father if this were so. Varu∆a, finding that his answer was only partial, askedhim to go back and do more tapas (think deeply). In stages, Bhƒgu realized that thelife force (pr¡∆a), mind (manas), intellect (buddhi), and happiness (¡nanda) were allaspects of Brahman and the consciousness beyond all these manifestation wasBrahman, the absolute. This intense pursuit of the knowledge of the ultimate istapas. The Yajur Veda says several of the Vedic disciplines come under the rubricof tapas. They are: speaking the truth; speaking the essential; Vedic chanting; men-tal equanimity; control of the senses; calmness; charity; performing Vedic rites anddoing prescribed duties; and worshiping the Lord.

In my experience of my teacher’s method, sv¡dhy¡ya is perhaps the mostimportant aspect of yoga practice apart from ¡sanas and pr¡∆¡y¡ma. Sv¡dhy¡ya,according to my guru, is the study of the scriptures, here the Vedas. It is sva-≈akh¡-adhy¡yana, or studying that branch of the Vedas with which one is traditionallyaffiliated. The Vedas are countless (anant¡ vai Ved¡˙). Hence each family used tostudy first the branch of the Veda corresponding to its family tradition. Presently insouth India most people study the Taittir•ya ˛¡kha (Taittir•ya branch) of the YajurVeda. In the olden days, Vedic study included the memorization of the Veda as thefirst step. Since in the Vedic days the various scripts (written characters) were notdeveloped, the Vedas were intently listened to and memorized and thus wereknown as ≈ruti, or “that which is heard.” If one wants to know about the otherVedas, one should master one’s own Vedic branch before going to different teach-ers to study the others. In the olden days, those who went beyond their assignedVedas were known as dvivedi, trivedi, or even caturvedi, depending on whethertwo, three, or all four Vedic renditions were studied. A caturvedi of present daymay have no faith in the Vedas, but he carries a surname one of his forefathers mayhave earned.

Once the Vedas were got by heart, then, according to several Vedic commenta-tors such as S¡ya∆a and Bhattabh¡skara, one has to learn the meaning. Only thenis such study known as a ved¡dhyayana or sv¡dhy¡ya. To know any subject, oneshould study and understand the meaning of the texts. With the Vedas being thesource of knowledge, sv¡dhy¡ya became the main method of learning in the oldendays. Since the development of the various scripts, most Vedas are now availablein several different versions, like n¡gari and grantha, or telugu and kannada. Themere memorization of the Taittir•ya ˛¡kha takes about seven years of continuousstudy and is taught in special full-time schools called p¡†ha≈¡las. To maintain the

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purity of the recitation, the entire text has fixed notes and methods derived to checkand preserve the purity of the rendition. The number of words, paragraphs, and sec-tions have all been calculated. There are a few experts who perform the recitationin several different ways such as pada, krama, jhath¡, and ghana. When the text isrecited continually as it is, this is called a saµhit¡ recitation. This is the basic tex-tual recitation. It is said that if one recites the Vedas regularly, one attains heaven.Furthermore, the gods, pleased with the prayers contained in the Vedas (yenamtripta˙), bless the devotee with long life and make him a leader among men, glow-ing with glory, and bestow upon him popularity, scholarship, and wealth—accord-ing to the Vedic sayings. At the end of this life, the devotee merges with Brahman(s¡yujya). When the sentences of the Vedic texts (mantras) are divided or split intoindividual words and recited one word after the other without sandhi (conjunction),this order of recitation is known as pada p¡†ha (pada, “word,” p¡†ha, “reading”), orreading word by word. It is said that the benefit that accrues to the one who recitesa text is twice as much as it is for one who merely reads it.

Yet another method of recitation is to take two words of the text, read themtogether, and then immediately recite them, as in the pada method. This method iscalled krama, and it is said to give the chanter four times the benefit of just readingthe text. Jhatha recitation is like the strands of a braid: The first word is recitedonce, followed by the second word twice, then the first word twice, followed by thesecond word once, as in the krama method. For example, taking the three-word ˛ivaPan÷caksari mantra from the Yajur Veda, namah ≈ivaya ca, and chanting it accord-ing to the jhatha method would yield: namas ≈ivaya ≈ivaya/namo namas≈ivaya/≈ivaya ca ca/≈ivaya ≈ivaya ca (the first word once and second word twice;the first word twice and second word once; the second word once and third wordtwice; the second word twice and third word once). The benefit of more complicatedrecitations such as this increases exponentially! It is said that the jhatha method ofrecitation will bring one thousand times the benefit of the saµhit¡ recitation. It iscustomary that this kind of krama p¡†ha of Vedic chanting is arranged by expertsfor the benefit of devotees. If the procedure followed is done without splitting thewords, but as a block of mantras following the rules of conjunction (sandhi), then itis called the ghana (heavy) method of recitation. Those who are able to do this kindof recitation from memory are called ghanap¡†hi (one who recites the Vedas usingthe ghana method). It is said that one’s memory increases enormously by the use ofthis method.

Ghanap¡†his are few and are a highly respected lot. Normally people withexcellent memory and a booming voice attempt to be ghanap¡†his. They were thepreservers of the Vedas in the olden days when writing was not prevalent, and thepurity of Vedas was well maintained generation after generation. In the Kƒß∆aYajur Veda, there are forty-four chapters of Saµhit¡ that make up the mantra por-

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tion, apart from thirty-eight chapters in the Br¡hma∆a (ritualistic, forest, andUpanißad portions included). There are places where the recitation of the Saµhit¡portions is carried out continuously by one method after another. Those who chant,those who listen, and those who organize such chanting programs all derive bene-fit. Veda p¡r¡ya∆a (chanting) occurs in many public places, like temples, so thateveryone can benefit from listening to it. In the olden days it used to be presentedfor the public good as a charitable endeavor. Vedic chanting produces sattvic vibra-tions, and the sattvic quality in the environment is churned out, and everyone attainsmerger with Brahman in due course. My teacher and I belong to the Yajur Vedaschool of the Taittir•ya section; in fact, this is the ≈¡kha to which most in south Indiabelong. ˛r• Kriß∆am¡c¡rya taught us several of the important chapters in the YajurVeda that are recited regularly. They should be chanted with svara and properpronunciation.

Perhaps the most commonly recited chapter is the first chapter in the ⁄ra∆yaka(forest) portion. The Yajur Veda (Taittir•ya) consists of eighty-two chapters, forty-four of Saµhit¡, twenty-five of Br¡hma∆a, three of K¡thaka, and ten of ⁄ra∆yakathe last four of which are the Upanißads. The first chapter, called Aru∆a Prap¡†haka,or the chapter on Aru∆a, is also known as the S¶ryanamask¡ra, or sun salutation. Itconsists of thirty-two sections (anuv¡ka) subdivided into 132 paragraphs. Its recita-tion, if done unhurriedly, takes about an hour, and it is customary to chant it early onSunday morning. This particular prap¡†haka was chanted by my teacher and manyof his students, times without number. The sun is worshiped for general health,longevity, and good eyesight (arogyam bh¡skar¡t iccheth). In the olden days it is saidthat sick and even terminally ill patients would be brought to the temple hall, wherethe recitation of this particular chapter would be done and the patients would listento the chanting. My teacher once said that he, along with a few other Vedic scholars,would do Aru∆a p¡r¡ya∆a aloud, even as they walked along the streets of Mysore.He was the yog¡c¡rya at the Mah¡r¡jah’s yog¡≈al¡, and the point of the walkingchant was so that very ill people who were bedridden and unable to come out of theirhomes would hear at least a few mantras of this potent chanting. There are also afew devotees who do saßt¡©ga namask¡ra while facing east at the end of chantingeach of the thirty-two anuv¡kas of Aru∆am. There are some yogis who do thirty-twonamask¡ra using viny¡sakrama. Thus it may be possible to combine the physicalnamask¡ra with the Vedic mantras. Another method still used in south India is to dothe Aru∆a p¶j¡ to a kala≈a (vessel) containing pure water and complete the Aru∆amrecitation after doing Varu∆a p¶j¡ to the kala≈a. At the end of the recitation the holywater is sprinkled on the devotees, who chant or listen to the recitation and donamask¡ra. The water may also be taken (in a spoon) as ¡camana. There is also apractice by which a s¶rya yantra and p¶j¡ are done with the Aru∆a mantra withflowers and akßata (rice). Of course, a regular yajña (fire sacrifice) also used to be

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performed that made use of the mantra. Several translations in English and otherlanguages are available for those who want to know the meaning of these mantras.With 132 paragraphs, this is the longest chapter in the Yajur Veda. It would be ben-eficial if yoga schools could organize on Sundays and have Aru∆a recited by thosewho can do such recitation. Students who can do s¶ryanamask¡ra can do the sameat the end of each anuv¡ka, and others who have faith in Vedic mantras can sitdown and listen to the chanting.

The second chapter in the Taittir•ya ⁄ra∆yaka is on sv¡dhy¡ya or Vedic chant-ing itself. It stresses the importance of the regular practice of Vedic chanting andknowing the meaning of the mantras. If one chants the mantras with total concen-tration and dedication and also knows their meaning, this is as good as performingthe various religious rites such as the yajñyas associated with the mantras (yam yamkratum adh•te, tena tena api ißtam bhavati). Based on this, Patañjali (2.44), whileexplaining the benefits of Vedic recitation (sv¡dhy¡ya), says that by sv¡dhy¡ya onegets to communicate with the deity of the mantras and obtain all possible benefits(sv¡dhy¡y¡d iß†a devat¡ saµprayoga˙). This particular chapter narrates the glory ofthe famous g¡yatr• mantra and how through its recitation during daily oblations(sandhy¡ vandana) the demonic characteristics of the mind are cleared. The chap-ter is an important one containing mantras for the repentance (pr¡yascitta) of thesins one tends to commit repeatedly, such as those committed with our minds,words, hands, and feet, the eating of unwholesome food, secretive indiscretions, andso on. The sins committed through words include, for instance, lies, backbiting, andrumormongering (samkusuka, vikusuka, nirƒta). It is said that if a person feels hehas committed deeds that are adh¡rmic (not dharma or correct), then he shouldchant this chapter. It is also used to perform a homa (minor fire rite) calledk¶≈m¡∆∂a homa. This also contains the prayer to the devas of the four quarters,which is normally recited at the beginning of a gathering of scholars who cametogether from different directions. It is also recited before undertaking any majorauspicious activity, such as the construction of a house, a wedding, a Vedic initia-tion (upanayana), or as a process to clear up mental cobwebs. The third chapter,called “Caturhotƒ Citi,” contains the Purußas¶kta (the prayer to the Lord in humanform). Some of the mantras in this chapter are also related to last rites and to med-itation on the soul as a form of light. The fourth and fifth chapters of the Taittir•ya⁄ra∆yaka are recited early in the morning, and this recitation is again supposed toremove the ill effects of any adh¡rmic acts. The fifth prapataka, called PravargyaBr¡hma∆a, consists of 108 anuv¡kas or sections. The Pravargya is the only chapterthat has a peace invocation at the beginning as well as at the end. These anuv¡kasare also recited before a wedding, before beginning study of the Vedas by initiates,and also at the end of these studies. It is a very important part of the famous firesacrifice of the Vedic god Soma (Soma yajña). Basically this particular rite involves

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the use of mantras to boil cow’s milk. The milk, when boiled to the accompanimentof the chanting of these mantras, becomes nectar. Those who perform this rite, orthose who only chant these mantras, develop sharp intellect, a luster arising out ofspiritual knowledge, energy, and power. The milk turns into nectar and is said togive one a very long, disease-free life. The Pravargya mantras have a number ofbeneficial effects. For example, they are efficacious in begetting adorable children.If one circles the a≈vattha tree 108 times while chanting each of the 108 anuv¡kasof the Br¡hma∆a, it is believed that this will eradicate infertility in women; this isstill a common practice in rural India. If one has dull children, then if one fills a pot(kumbha) with water, invokes the sun lord in the waters of the kumbha, does arecitation of the Pravargya mantras, and then bathes (abhiseka) the children, theirminds will become sharp. During the afflictive periods of the Sun and Venus, thosewho suffer the ill effects, as well as those who desire the removal of the ill effects,of R¡hu and ˛ani (Saturn), can recitate the Pravargya mantra, do the mantra japafor navagraha (the nine planets), and make appropriate charitable offerings toreduce the ill effects. When one is unable to get cured from using medicines, orwhen one is unable to diagnose the cause of an ailment, one may listen to the chant-ing of these two chapters of majestic mantras to get relief. Sudden mental stress canbe overcome by chanting these chapters in the shrine of Lord ˛iva or of his other(formless) form, Dakßi∆¡m¶rti. These mantras can also be used when one becomesweak or when one is involved in litigations. It is also said that those who suffer fromterminal ailments may listen to these mantras and achieve a peaceful death with-out suffering (an¡y¡sa maranam). The second through fifth chapters are recited inpublic on the eighth day of the new or full moon (aßtam•), or any other festive dayswhen the village or town’s temple deity is taken around the streets. This is said toensure general prosperity to the region. Wherever one wants to do Veda p¡r¡ya∆a(Vedic recitation) but cannot do the chanting himself, he should intently listen to itsrecitation by others. The mantras have the power, it is said, to create the right vibra-tions, both in the outer environs and in the cakras. I have always felt extremely goodand peaceful at the end of an hour’s chanting, especially of the Pravargya.

Another section that is recited regularly is the one containing the mantras usedin the a≈vamedha, or horse sacrifice. Among all the Vedic rites, these are supposedto be the most elaborate and efficacious. Later on, the horse sacrifice became avery important religious rite performed by kings who would establish theirsuzerainty over the neighboring kingdoms. Lord R¡ma is said to have performedthis yajña. In the rite itself, a thoroughbred horse, having been subject to the nec-essary preparations through the chanting of various Vedic mantras, would be letloose, followed by the king’s army. The horse would wander around to the differ-ent kingdoms, and anyone who dared to stop and take possession of the horsewould be fought tooth and nail by the king’s army. The horse would be repossessed

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after the victory, and the hostile enemy would be taken prisoner. As prescribed bythe scriptures, after the successful completion of the rite by the victorious king, theking would become an emperor, and if he completed one hundred such yajñas, hewould, after death, take over as Indra, the head of the devas or celestial beings.Since this particular yajña required enormous resources and manpower, only kingsused to perform the yajña, with the priests and scholars helping in the performanceof the rite.

According to Vedic traditions, however, sincere recitation of the rite with anunderstanding of the meaning would itself produce the same results as performingthe yajña with material objects (yam yam kratum adh•ta, tena tena api iß†am bha-vati), and it has been the practice to recite this portion in its entirety. It is normallyrecited on the eleventh day (ek¡da≈i) after either the full or new moon. The ek¡da≈ivrata (vow) includes fasting, and in the afternoon the whole of the three centralchapters (Acchidra and A≈vamedha) is chanted, which takes about three hours tocomplete. A≈vamedha is supposed to remove the disastrous consequences of com-mitting such a heinous crime as killing a Vedic scholar as well as other despicableacts. It also includes mantras to the sun deity that help cure some terminal ailmentssuch as a heart ailment (hƒd rogam mama s¶rya harima∆am ca n¡≈aya). In India,there are several societies that arrange for scholars to come and recite thesemantras on ek¡da≈i day, with several others joining in to listen to the three-hourrecitation, even while fasting completely for the day. The fourth chapter in the samethird section of the Taittir•ya Br¡hma∆a is also recited with A≈vamedha. This fourthchapter is called the “Purußamedha.” On the following day, dv¡da≈i (the twelfth dayafter the new and full moon), the last four chapters of the Yajur Veda, called theUpanißads, are chanted. Vy¡sa, who wrote a commentary on the yogus¶tras, com-ments that study of the scriptures leading to mokßa (or release) will also come undersv¡dhy¡ya. While Ved¡nta represented by the Upanißads is termed a mokßa ≈¡stra,other nivƒtti approaches like S¡µkhya and Yoga will also qualify as mokßa ≈¡stra.Thus, study of these three subjects, namely S¡µkhya, Yoga, and Ved¡nta, are partof sv¡dhy¡ya. Without theoretical study (for a beginning practitioner), how can oneknow about spiritual matters? Sooner than later, people who practice yoga shouldstudy the texts supporting the yoga systems.

The last four chapters of the Yajur Veda are called Upanißads. According to thedharma ≈¡stra (the treatises on dharma), the Upanißads are to be recited and stud-ied daily. The Taittir•ya Upanißad consists of three chapters (the seventh, eighth,and ninth of Taittir•ya ⁄ra∆yaka). This Upanißad is the one most often recited, andit is one of the ten major Upanißads that form the basis of the Ved¡nta system ofdefining the nature (svar¶pa) of and means (tatas†ha) for experiencing the ultimateVed¡nta truth. This Upanißad, even though it can be recited daily, is especiallychanted on the twelfth day (dv¡da≈i), immediately after the ek¡da≈i vrata. These

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three chapters describe the nature of the study of the Vedas (≈ikß¡), the nature ofBrahman (¡nanda), which is unalloyed bliss, and the step-by-step approach to real-izing Brahman—which was explained above (in discussing tapas). The last chapterof the Yajur Veda is known as the Mah¡n¡r¡ya∆a Upanißad and contains several ofthe Vedic mantras used in the daily religious oblations and in up¡s¡na, as well asvarious Vedic prayers (s¶ktas) to S¶rya and Durg¡, and the Aghamarßana, theprayer addressed to Varu∆a, lord of the element water, recited when one bathes. Inaddition, mantras used in daily sandhy¡ and pr¡∆¡y¡ma; mantras to improve mem-ory and for proper attention in class; the famous mantras used for meditation in theheart (dahara vidy¡); mantras used before taking food; ˛iva mantras; and thetrayambaka mantra for longevity—all can be found there. Taittir•ya K¡†haka, a dis-tinct section between the Br¡hma∆a and the ⁄ra∆yaka portions, is the source of theKa†ha Upanißad, which itself in the inspirational basis for the Bhagavad G•t¡. Ofthese three chapters, the first deals with the glory of S¡vitr• (the sun’s luster); thesecond deals with story of Naciketas and is the basis for the Ka†ha Upanißad; andthe third contains religious rites and mantras, like caturhotriya. All three chapterstogether take about two hours to recite. Some adherents recite K¡†haka again ondv¡da≈i day. Other important recitations include the famous Purußas¶kta, and theRudram and Camakam, from the Saµhit¡ portion.

Since many will not be able to recite these Vedic passages, V¡caspatimi≈ra, thecommentator on Vy¡sa’s Yogabh¡ßya, includes those prayers consistent with theVedic gods and philosophies as an acceptable form of sv¡dhy¡ya for the kriy¡yogiand aß†¡ñgayogi, grouped together as yoga s¡dhakas. His selections are taken fromthe two epics and the scores of Pur¡∆as, Upapur¡∆as, and mythologies based on theVedic revelations and Vedic gods.

Of all the Pur¡∆as, those on Viß∆u are many and are perhaps the most widelyread, and several portions are recited as prayers. One of the better-known prayersis the Viß∆u Sahasran¡ma (Thousand Names of Viß∆u) from the Mah¡bh¡rata. It isrecited daily by thousands in houses and temples. The benefits accruing to one whorecites or who hears the recitation is given in the phala≈ruti following the sahas-ran¡ma. It is customary for all prayers to contain what is known as phala≈ruti, orstatement of benefits. It may be worthwhile cataloging the benefits mentioned byVy¡sa. Nothing inauspicious or unwholesome will ever come to pass to one who lis-tens to or recites the Viß∆u Sahasran¡ma daily. All four castes will get their due. Abr¡hmana gets the knowledge of the Veda and Ved¡nta; a kßatriya conquers all hisenemies; a vai≈ya acquires immense wealth; and others will experience great hap-piness (sukha). A person wanting to lead a meritorious life will do so. One desiringwealth, on reciting the one thousand mantras of Viß∆u, will acquire riches, and thesick will get well again. Those who want progeny get children. One who chants thesahasran¡ma of Viß∆u becomes famous, a leader in his community, and acquires

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undiminished wealth and prosperity. He never falls sick and acquires a luster. Hewill become strong with noble qualities. If he suffers from any disease, he will berid of it. If he is in bondage to another, he gets released. A habitually timid personbecomes brave, and those with innumerable difficulties overcome them. The onewho chants finally attains mokßa, or total release, which is the main goal of humanlife. The chanting is done both in the morning and in the evening. Several com-mentaries including that by ⁄di ˛a©kara are available explaining each and everymantra in the Viß∆u Saharasn¡ma.

There is a convention by which the Viß∆u Saharasn¡ma is recited along with theIndr¡kßi and the ˛ivakavacam, two minor works on ˛akti and ˛iva, for protectionfrom evil forces and cure of diseases, especially fevers. The other well-known work(m¶la grantha) from the itih¡sas that is routinely recited is the R¡m¡ya∆a, espe-cially the Sundarak¡nda, the part in which the monkey god, ⁄ñjaneya, finds Sitaand paves the way for her being rescued by Lord R¡ma. This portion, consisting ofover 2,800 stanzas, can be recited in about ten hours, and it is customary to do itover a period of seven days (sapt¡ha). Girls aspiring to get married to pious men,when they are confronted with insurmountable legal or financial difficulties and nohope, are advised to recite or listen to the recitation of the Sundarak¡nda. Thosewho want to perform an extraordinary feat will get inspiration from the exploits of⁄ñjaneya narrated in this work. Another important work that is recited is the Dev•M¡h¡tmya or Candi, also known as the Durg¡ Sapta≈at•, from the M¡rka∆∂eyaPur¡∆a, which consists of seven hundred stanzas. It is recited during the month ofpurattasi (September 15–October 15) for nine days following the new moon day.Several other works are recited regularly, such as the Lalit¡ Sahasran¡ma, alreadymentioned, and short prayers, such as the ⁄ditya Hƒdayam.

The mokßa s¡dhana, or philosophical works, are mainly the S¡µkhya and Yogaphilosophies and, directly from the Vedas, the Upanißads, ten of which are the mostimportant and for which great Ved¡nta exponents have written lucid commentaries.The other works that follow the Upanißads are found in the Brahma S¶tras and thefamous Bhagavad G•t¡. These are not only chanted, but also studied in great depthby spiritual aspirants. Sv¡dhy¡ya is not mere recitation, but also knowing the mean-ing and meditating upon the import of the mantras. The recitation of the Vedas andrelated scriptures is sv¡dhy¡ya. It is always stressed that society should encouragethe study of original works (m¶la p¡r¡ya∆a).

In his commentary Vy¡sa includes the chanting of mantras from the Vedas andrelated scriptures as sv¡dhy¡ya (for example, the pra∆ava and mantra japa). Patañ-jali introduced the japa of pra∆ava in the sam¡dhi p¡da. Japa is the chant of amantra, aloud or silently with the lips barely moving, or else mentally, dependingon the level of mental relaxation and concentration. Immediately after chanting themantra, the yog¡bhy¡s• has to meditate on the meaning of the mantra (tat japa˙

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tadartha bh¡vanam). Mechanical repetition of the mantra with a wandering mind isnot japa. There are several mantras that are suitable for japa. According to old com-mentators like M¡dhav¡c¡rya, mantras are of two kinds, Tantric and Vedic. Tantricmantras are basically k¡mya mantras, and a very large body of knowledge is avail-able explaining the various Tantric mantras and their elaborate rituals (japa vid-h¡na). They are highly potent, but beyond the scope of this discussion onsv¡dhy¡ya, which is a Vedic word. The well-known Vedic and Pur¡∆ic mantras thatare chanted are quite numerous. The mantras can be one syllable, a word, a line, ora few lines. These are repeated a fixed number of times—10 times, 108 times (11 x22 x 33), or 1,008 times, or several thousand times, even up to one crore (10 million),this last being done in a common place by several people over several days for thecommon good. Perhaps the most well-known Vedic mantra is the pra∆ava, or OM,and this mantra is the most fundamental and potent of Vedic mantras. The pra∆avais extensively dealt with by philosophers, including Patañjali in his Yogas¶tras. Thepra∆ava is chanted alone or in combination with several other mantras, both Vedicand Pur¡∆ic. It is customary to chant any mantra with the pra∆ava, with the latterusually as prefix. The other well-known Vedic mantra is the famous g¡yatr• mantraof twenty-four syllables. The mantra is used to help the mind be rid of the dross oftamas and glow with enlightenment. The deity invoked is the effulgent sun, and theƒßi or sage who discovered this potent mantra is Vi≈vatmitra; the meter is calledg¡yatr•. It is customary among many devout Hindus to do g¡yatr• japa thrice daily.On special occasions, one may chant it 1,008 times. There are a few who take thevow to chant it 1,000 times daily for several years. If one does this for about thirtyyears, one will have done this japa 10 million times, by which time one becomes asiddha of the particular mantra.

There are similar mantras for other deities in the g¡yatr• meter and they areknown by their respective deities, for example, Nƒsi≥hag¡yatr•, Agnig¡yatr•, Dur-g¡g¡yatr•, ˛ivag¡yatr•, Viß∆ug¡yatr•, and so on. Single-word Vedic and Pur¡∆icmantras are also popular among many devotees. The ˛iva pan÷c¡kßar•, the five-syl-lable ˛iva mantra (nama≈≈ivaya); the eight-syllable mantra on Lord N¡r¡ya∆a (Omnamon¡r¡ya∆¡ya); and the twelve-syllable V¡sudeva mantra (Om namo bhagavatev¡sudev¡ya) are also popular among many ¡stikas for japa. Like the g¡yatr•, thereare a few other Vedic mantra passages that are also repeatedly chanted. TheMƒtyumjaya mantra is chanted to overcome the fear of death and attain mokßa. Itis a prayer to ˛iva to save the devotee from the pain of death (physical and mental)and make him immortal: “I pray (yej¡mahe) to the three-eyed ˛iva, who emanatesa pleasant smell (as against the stench of disease and death) and gives nourishmentto all. May He release me from the clasps of death like a cucumber separates,imperceptibly, from the creeper.” This highly poetic but poignant wish of the devo-tee for a painless release is a favorite mantra as one gets older.

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My mother was very ill and the doctors attending her said that they might not beable to be of much help any longer. It was about 9 P.M., and when we asked her ifshe would like to be taken home, she agreed to go immediately. She was broughthome in an ambulance. My wife arranged for drip-feeding for her, and the housewas full of relatives. At about 3 A.M., she called me and asked me to fetch our fam-ily astrologer-priest after dawn. “Why?” I asked her. She would only say that shewas ready to go, but wanted to talk to him. I managed to fetch him at about 11 A.M.on the following day. He immediately sent for a few Vedic pa∆∂its, who were asked(all three of them) to chant the Mƒtyumjaya mantra 1,008 times. After the prelimi-naries, they started the chant of the mantra: Trayambakam yejamahe sugandhimpußtivardhanam. Urv¡rukamiva bandhan¡t mƒtyor mukß•ya m¡mƒt¡t. After the ini-tial sa©kalpa to state that the japa was being done for the benefit of my mother, thejapa went on for about forty-five minutes. Before it started I asked my mother if thisis what she wanted done, and she immediately said yes. The framed picture of herfavorite deity (iß†a devat¡), Mother Karumari, was hanging in the wall in front ofher. After doing about six hundred or so japa, my mother, who was lying down, wasput into the reclining position. She slowly closed her eyes, and her lids appearedheavy. After about one hundred chants, when I asked her if she could hear me, shenodded her head. I then asked her if she could hear the chanting, and with eyes stillclosed, she nodded with a relaxed smile.

After about three minutes, my wife said that her pulse appeared to start thread-ing. My mother turned her head a couple of times, then opened her eyes and gazedat the picture of her favorite deity. She died with her gaze fixed on the divine pic-ture. She was gone, separated from life—like a cucumber separates from the vine.It is customary among ˛aivites to mutter “˛iva, ˛iva” in the ears of a dying person.In my mother’s case, ˛iva’s favorite mantra, the Mƒtyumjaya mantra, was repeatedseveral times as she passed away from life to the eternal.

There are other Vedic passages that are chanted to improve memory, concen-tration, health, longevity, wealth, progeny and so on. Among the mantras from thePur¡∆as that are popularly chanted are R¡ma, Kƒß∆a, Govinda, ˛iva, Amb¡(mother), and Añjaneya. Tapas and sv¡dhy¡ya are very well ingrained in theancient religious ethos. The R¡m¡ya∆a starts with the words tapas, sv¡dhy¡yanirata˙, “the sage well established in tapas (austerity) and sv¡dhy¡ya (spiritualstudies).”

The next aspect of Patañjali’s kriy¡yoga is °≈varapra∆idh¡na, a term used todescribe an alternate method for attaining kaivalya in the sam¡dhi p¡da, intendedfor the highest-level yogi. It should be understood that °≈varapra∆idh¡na is a com-plete spiritual practice whose range includes practices appropriate to the three lev-els of yoga. It is included as a niyama (prescribed duty) for the midlevel aß†¡©ga

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yogi. In the context of kriy¡yoga it would refer to °≈varap¶jana, or worship of theLord, as ordained in the various ≈¡stras. The G•t¡ talks about the Lord becomingpleased with any offering from the devotee, whether a tulas• leaf, a fruit, a flower,or a spoonful of water for ¡camana. °≈vara p¶j¡ as an aspect of pra∆idhana is a well-established religious practice. There are several p¶j¡ methods in vogue—some arevery elaborate and some brief, and several methods based on Vedic tradition arequite comprehensive. Temple worship will fall under °≈vara p¶j¡, which varies fromtradition among families.

Nitya (daily) p¶j¡ of the Lord is considered a daily routine in orthodox families.Of the several methods, the p¶j¡ of °≈vara in the form of ˛iva, or ˛iva p¶j¡, is wellknown. A ˛iva li©gam is used for the p¶j¡, or worship. Even though I am temptedto describe this p¶j¡ krama (method of doing p¶j¡) in detail, it is beyond the scopeof this book. Other well-known p¶j¡ kramas include, among Vaisnavites especially,the saligr¡m p¶j¡. The ˛iva pan÷c¡yatan p¶j¡ (worship of five deities at once) is alsopopular among smartas, with a ˛iva li©ga in the middle, Ganapati in the form of asmall lump of turmeric or a red icon in the southwest, Mother ˛akti in silver in thenorthwest, Viß∆u in the form of saligrama in the northeast, and S¶rya (the sun) inthe form of a crystal (spha†ika). There are other methods by which one’s favoritedeity, for example, Viß∆u, can take center stage. There are some who would add asmall spear representing Lord Subrahma∆ya, the sixth deity of the orthodox systemof ßa∆mata (six forms of religious worship). It should be noted that kriy¡yoga is theessence of Hindu religious practice, embodying austerities, the study of scriptures,and devotion to the Lord.

Patañjali (2.43) indicates the manifold benefits of kriy¡yoga. It stops depressionand unhappiness and prepares the citta for sam¡dhi, which itself is the prerequisiteto attaining citta-vƒtti-nirodha. Doing tapas purifies the body and especially thesenses (k¡yendriya siddhir a≈udhi kßy¡t tapasa˙). Sv¡dhy¡ya gives one a firstglimpse into the nature of self, and the mind gets the desire to experience purußa.Thus the individual gets a measure of control over the senses and citta, and, ratherthan being engrossed completely in worldly vƒittis, starts contemplating spiritualpursuits. °≈varapra∆idh¡na helps the citta to develop the capacity for sam¡dhi, a nec-essary condition for bringing about direct perception of purußa. It should be notedthat Patañjali, even as he advocates the procedure for inquiry, gives equal impor-tance to the yoga of devotion by including °≈varapra∆idh¡na for all three levels ofyoga, in kriy¡yoga, in aß†¡©gayoga, and in yoga. °≈varapra∆idh¡na is a comprehen-sive devotional path for reaching kaivalya. At the level of kriy¡yoga, the first-stageaspirant is required to make use of the well-developed system of p¶j¡ to the Lord.Through its rather elaborate ritual, it helps the yog¡bhy¡s• achieve ek¡grat¡, or one-pointedness. For the middle-level yogi, as an aspect of niyama, it requires surren-dering the fruits of all action to the Lord and a sense of total submission. For the

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kriy¡ yogi, °≈varapra∆idh¡na helps to prepare the mind for sam¡dhi (sam¡dhibh¡vana). For the more advanced aß†¡©ga yogi, °≈varapra∆idh¡na facilitates theattainment of sam¡dhi itself (sam¡dhi siddhi), along with the other a©gas. The bornyogi with a natural ability to go into sam¡dhi is able to achieve the ultimate goal ofkaivalya with °≈varapra∆idh¡na or meditation on °≈vara as mentioned in thesam¡dhi p¡da.

What are the kle≈as, or causes of pain, that kriy¡yoga is able to reduce signifi-cantly? The worst kle≈a (kli≈n¡ti iti kle≈a˙) is misconception about the nature of theself. Avidy¡, or nescience, produces impressions that are not consistent with reality.The goal described in the first chapter of P¡tañjala yoga is to make all five kle≈asof the citta cease. The objective is to attenuate the five causes of pain, the fivekle≈as. Misconception, mistake, and misunderstanding are the cause of all pain,whether in worldly or spiritual matters. S¡myak dar≈ana, correct perception, is whatis to be obtained. Now, what is avidy¡? It is the general term used to denote mis-conceptions about permanence, wholesomeness, happiness, and the Self. Whenwhat is not is taken to be what is, this is avidy¡. The results of this generalizedavidy¡ are manifold. The most fundamental misconception is about the Self. Whenone wakes up from deep sleep, the waking takes place while the feeling of “I am,”or “I exist,” arises. The vƒtti that one experiences as one wakes up is called asmit¡(aham asmi iti bh¡vana asmit¡). Since it is a vƒtti that is experienced, the “I exist”feeling is not the Self, the experiencer, say all philosophers including Patañjali. Thethought of “I,” with its firm locus in the citta, becomes more and more establishedfrom childhood to adulthood. It divides all other external objects into those that arefavorable and those that are not, even though none is favorable or unfavorable tothe nonchanging, overseeing Self. Then citta, without knowing the real nature of theSelf, develops an affinity for objects that are favorable (because they produce hap-piness to citta) and a dislike for objects that are unfavorable. It culminates in thefinal kle≈a, or affliction, called abhinive≈a, or fear of losing what is favorable andbeing harmed by what is unfavorable. Hence the fountainhead of all these afflictivecauses is avidy¡, or the misconception about one’s own Self.

The cit or consciousness is the seer—the one that constantly oversees whateverhappens in the citta, in which the locus of the “I” feeling resides. When the cittadoes not distinguish the difference between the seer and the “I exist” feeling, orself-locus, which itself is a thought, or a citta vƒtti, that is experienced, this afflic-tion or misconception is asmit¡. The citta, when it develops a desire for objects thatappear to create happiness—even as no object really affects the Self one way orthe other—is called r¡ga, and the other side of the coin is dveßa (dislike). Fear isabhinive≈a, and the greatest of the abhinive≈a kle≈a vƒtti is the fear of death, thefear of losing everything, including the pseudo-self. This phenomenal fear is in allof us, even the best of scholars who have studied the nature of the self. Kriy¡yoga

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helps to reduce these five afflictions. They have to be reduced because in the ud¡raavast¡, the highest afflictive stages, they become an obsession—an obsession aboutone’s own interests to the detriment of all others, of getting what one wants anddestroying what one hates, and the great fear of disease and death. These kle≈asseldom go away, but instead remain dormant. Patañjali exhorts the first-levelyog¡bhy¡s• that these kle≈as have to be rolled back, and kriy¡yoga helps greatly toreduce the kle≈as.

But then the kle≈as, the harmful vƒtt•s, have to be completely rooted out, and onehas to look beyond kriy¡yoga for guidance. Patañjali then addresses the second-level yog¡bhy¡s• in suggesting that these kle≈as can be rooted out by dhy¡na, a rep-resentative term used by him to indicate the yogic practices called antara©gas¡dhana, part of the eight-limbed yoga (aß†¡©gayoga) that he later discusses. If theseer or the Self is always free and only oversees the functions of the citta, whatcauses these apparent endless misconceptions and their cyclic effects? The nextimportant concept regarding action and results, called the karma hypothesis, thecornerstone of Vedic philosophy, is taken up and succinctly explained by Patañjali.

The kle≈as are the roots (kle≈am¶la) or causes of the actions’ fructifying andproducing results, in the here and the hereafter. The corollary to this is that actionsnot actuated by kle≈as will not result in experiences. Individuals act desiring whatthey think is favorable to them, and what they think is favorable is governed bydesire (k¡ma) and greed (lobha). They also act in anger (krodha) to avoid or destroywhat is unfavorable. Moha (infatuation or confusion) also governs our actions. Theacts themselves can be classified into those that are uplifting, dh¡rmic or pu∆ya, andthose that are despicable (adh¡rmic or p¡pa) or mixed (pu∆y¡pu∆ya). Thus what isdesired can be achieved by actions that are dh¡rmic and on other occasionsadh¡rmic. It becomes an issue of means and ends. The three, k¡ma, lobha, andmoha, are degrees of r¡ga, and krodha is intense dveßa.

Having their roots in the five kle≈as, arising basically out of spiritual misappre-hension, individuals tend to act. Actions sometimes produce results immediately orlater on in life, or in a life beyond. But since the residual action bundle (actions thatare yet to give rise to results) produce a specific birth, life span, and incidentalexperiences (happiness and misery), the roots of them all, the kle≈as, have to beremoved. Once the kle≈as are removed, like removing the chaff from the grain, theylose the capacity to produce results. Paddy (rice with husk), when planted, grows,but not rice. The residual karmas are called karm¡≈aya, inasmuch as they remainwithin all beings who go from birth to birth; and they are dharma and adharma,those that sustain (dharma) and those that let one down (adharma). Hence dharmaand adharma are what are said to be right and wrong actions. The motives are thereand they propel individuals to act to get the benefits in the future, even as theyexperience the results of past karmas. If there is a desire (motive) to obtain a place

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in heaven, for example, one tends to do all the actions mentioned in the scriptures,such as a≈vamedha and jyotiß†oma, rites that are said to take the individuals somotivated to the heavenly abodes at the end of this life. These acts are called ißtis.One may also do other socially relevant and charitable acts (called p¶rta), such asfeeding the poor, creating public parks, the construction of temples and roads, plant-ing trees, and others. Here the motive is desire, and the actions are righteous(dharma). But one may have the desire for good things, especially worldly plea-sures, and one may achieve wealth, but instead of taking the right means(nijakarma), one may use prohibited means such as stealing, cheating, and so on.

By doing such adh¡rmic or prohibited actions (nißiddha or p¡pa), even thoughone may get what one wants, one will simultaneously acquire adharma or p¡pa,which will produce its own ill effects in due course, whether here or hereafter. Onemay, due to infatuation, or moha, indulge in cruelty to scholars or those who areweak and cannot defend themselves. One may indulge in actions prohibited inscriptures, though consistent with the laws of the land, and still acquire adharma.

Dharma and adharma that are yet to give results are karm¡≈aya, and remain assaµsk¡ras. The karm¡≈aya are divided into dƒß†ajanma vedan•ya and its opposite.All actions done with the present life (body) are dƒß†ajanma and those results thatare experienced in this janma are called dƒß†ajanma vedan•ya. Thus life runs onparallel lines: On one side one keeps on acting, and on the other one continues toexperience the results of past karma. All experiences that would take place in thenext life for actions due in previous lives are all adƒß†ajanma vedan•ya. Of all thepious (pu∆ya) actions, those done with extreme intensity with the help of mantras,tapas, and sam¡dhi or by propitiating gods (deities), great sages, and so on may giverise to effects even in the same life. An example found in the Pur¡∆a is that ofNandike≈vara, who because of his intense devotion to God acquired enormouspu∆ya and in the same life attained the state of a deva (angel). On the other hand,one who commits atrocities on those that are helpless, sick, or trusting, or who aregreat personages (mah¡tmas), tapasvins, and similar precious beings, suffers theconsequences in the same life. The Mah¡bh¡rata narrates the example of Nahußa.He was a king of the lunar race (candra vam≈a), and was the son of Ayus, grandsonof Pur¶ravas, and father of Yay¡ti. He was a very wise and powerful king. Indra,the king of devas, had killed a demon called Vƒtra, making use of the backbone ofthe seer Dadh•ci (who is believed to have performed penance in vajr¡sana, alsoknown as dadh•cy¡sana). His backbone was hard (vajra) and was used by Indra asa weapon (thunderbolt). Vƒtr¡sura had to be destroyed because he had all devas incaptivity owing to his enormous tapas, which strength he wrongfully used to confinethe devas. But since Vƒtra, even though he was a demon (asura), was also a brah-man scholar, and killing a scholar (brahmahatti) was considered a doßa (sin). Inorder that he may expiate the sin (p¡pa), Indra lay concealed under the deep sea for

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a considerable length of time. There are some versions that say he hid himself inthe tip of a grain, through layayoga. The devas were looking for a temporary leader,and imposed on Nahußa to occupy the exalted position of leader of the angels. Thisgreat advancement happened because of the dh¡rmic activities he had performedas a king. After a while, Nahußa, becoming conceited and thinking of his positionas permanent, wanted all the perquisites of Indra, including the hand of Indr¡∆•, thecelestial consort of Indra. He became so conceited and cruel that he even went tothe extent of forcing the seven highly respected and genial sages (sapta ƒßaya˙) tobe his palanquin bearers. Sitting smugly in the palanquin, he directed the sages tocarry him to the abode of Indr¡∆•. One of the sages—believed to be Agastya(rhymes with Augustus, though some say it was Aß†avakra)—was short and had alimp and hence could not keep pace with the other sages. And every time Agastyaplanted his shortened leg, jerking was felt by Nahußa. Irritated at the slow pace ofthe palanquin and the bumpy journey, and unable to control his adh¡rmic lust, heshouted at the deformed sage to speed up by saying “Sarpa, sarpa,” meaning “movefast” or “run.” Agastya, who had the tapas to bestow boon (anugraha) or administera curse (≈¡pa), cursed Nahußa by saying “Sarpo bhava” (“Become a snake”; sarpameans “snake” as well). The weight of his sins was so much that with the curse ofthe ƒßi, the adh¡rmic activities of the once-upon-a-time dharmi instantly producedtheir effect. Nahußa fell immediately from the exalted position of Indra to that of asnake and remained in that pitiable state—to be stoned by urchins passing by. Hewas later resurrected by Yudhiß†hira, a great dh¡rmic soul.

It follows that since the kle≈as are the roots that produce the effects to the kar-mas one has performed but which have not yet produced results, if the kle≈as canbe removed, then the karm¡≈ayas will not produce a different future life, with theattendant life span and its related experiences. Therefore, by the fire of the knowl-edge of the Self, one will be able to “burn away,” as it were, the potency of the pastkarmas to produce a future birth. Each birth produces an inexplicable variety ofexperiences. It could, therefore, be hypothesized that at the time of death, severalof the actions, some dharmic and some adharmic, that can produce experiences witha particular kind of birth (a bird, a reptile, a human being) combine to produce afuture birth. Thus, as is mentioned by Lord Kƒß∆a in the G•t¡, it is difficult to pin-point the course of karmic effects, or to pinpoint which karmas will produce effectswhen, even though one can state that karmas produce results. It is the consideredview of the ≈¡stras such as Yoga that several actions combine together to producea new birth.

Some actions performed during a given life span will produce effects in that samelife span. But other karmas may not be able to produce their effects because that par-ticular birth and its life span do not allow for the results of those karmas to takeeffect. For instance, if a human being performs meritorious acts whose beneficial

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effects go beyond the limitations of the human form and—shall we say—can onlybe experienced by celestial beings, those karmas thus created by the performanceof the meritorious acts will remain dormant as karm¡≈ayas all through that life span.In addition, karmas acquired during past births that did not come to fruition in thoseprevious births or in the present birth will also carry forward as karm¡≈ayas. Then,from among all the karm¡≈ayas of previous births and the present birth, one pow-erful karma becomes the major karma. Several other karmas out of the karm¡≈ayabundle, which are consistent with or in league with the main karma, join it as sub-ordinate karmas. They start acting at the time of death to produce one life. Thesekarmas, working in unison, will determine the type, span, and experiences of thenext immediate life. More specifically, one main karma (pradh¡na) determines theparticular form of that life (man or lion, for instance), and all the subsidiary karmaswhose effects can be experienced in that particular form will produce their effectsduring that life span. All other karmas not taking part in that birth remain dormantas karm¡≈ayas.

The idea is that only those experiences that a human being can have will cometo fruition during a human life, its effects produced by a pradh¡na (main) karma thathas the potential to give a human life. But the experiences and the life span willvary depending upon the subordinate karmas that may produce effects, constantlymodified of course by karmas that can produce effects even in the same birth(dƒß†ajanma). To reiterate, if the main (pradh¡na) karma gives rise to the birth of abird or a deva, only those that can give rise to the experience of a bird or deva, asthe case may be, become the subordinate karmas. The karm¡≈aya that are incon-sistent with the present janma will have to wait for a long time to be operative, butat the appropriate time will give the experiences. How does it happen that one whowas a human being is able to get the instincts to behave like a bird in a future birth?The answer is that since this stream of birth and death (prav¡ha) has no beginningand is believed to go on forever, each individual contains the karma v¡sana (thememory or innate nature) of all species within itself. At the time of death, owing tothe variety of karmas, the v¡sana of the imminent birth comes up only along withpradh¡na karma. Therefore, the v¡sanas in our citta have accumulated over count-less births and, like the knots in a fishnet, are bewildering. Several acts done in thesame life produce effects in that same life. Those that can take effect only in afuture birth or those that can produce effects in the future of the same life are thekarm¡≈ayas that can be modified, for better or worse, as in the case ofNandike≈vara and Nahußa. These karm¡≈ayas are called aniyata, or “subject tochange,” and are uncertain to produce a particular effect, as they may be modified,or even made ineffective, before they can bear fruit.

The karm¡≈ayas that are yet to produce results can be grouped into threeclasses: (1) those that can be destroyed before they become ready to come to

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fruition; (2) those that can produce effects only in conjunction with a main karma;and (3) those that are waiting for their time, but are prevented from coming tofruition for the duration of the present birth (main karma), and will therefore haveto wait for a future birth. All three are called aniyata karmas. Now, the next ques-tion to be addressed is, how can any karma in the form of karm¡≈aya be destroyedbefore it can produce an effect? Is this not inconsistent with the general belief thatthe effects of karma or fate cannot be changed? It is said that dharma can nullifythe effects of adharma (pu∆yena p¡pam apanudati). The ≈¡stras contain severalparih¡ra a prayascitta karmas, or rites, that have the potential fully or partially tonullify the effects of adh¡rmic karmas that are yet to come to fruition. The dailysandhy¡ (nityakarma), specific religious rites and vratas, and the accepted charita-ble acts are believed to have such a potential. The second situation is when onedoes a main karma, which may be a pious act, like jyotiß†oma, pa≈umedha, ora≈vamedha, that also involves harming animals such as cows or horses. Hence onehas to suffer the consequences of the p¡pa of harming the animals, since this vio-lates the dictum “Na himsy¡t bh¶t¡ni,” even as one reaps the benefits of a pu∆-yakarma. Thus the p¡pakarma has to wait until the main karma starts producingeffects. And then there are karmas that may not be able to be part of the experi-ences of the next birth and will have to wait until the appropriate birth (janma)comes to pass. It is almost impossible to exactly predict, therefore, if a particularkarma will produce effects at a definite time, place, and life from out of the myriadkarmas done in this life or one before. But it is certain that pu∆yakarma will giverise to happy experiences (hl¡da phala) and that p¡pakarmas will give rise to tortu-ous experiences. Patañjali puts it succinctly, “Te hl¡da parit¡pa phal¡˙,pu∆y¡pu∆ya hetutv¡t.”

Now, the ≈¡stras, especially the nivƒtti ≈¡stras, make a case for getting out of thisbeginningless cycle of life after life. Yogis, like S¡µkhyas and Ved¡ntins, arguethat the whole continuous and endless existence from birth to birth is only misery.All objects tend to change (pari∆¡ma). Objects that give happiness at a particulartime undergo change over time and can become a source of misery, as, for instance,our own bodies, which were a source of great happiness in youth but become a bur-den of misery and sorrow as we age. Then there is always a tinge of unhappinessin all of us. We are never completely, thoroughly happy for any length of timebecause of t¡pa. T¡pa is of two kinds, not getting what one wants and being unableto distance oneself from what one does not want. When one finds another havingmore success than oneself, a tinge of jealousy or unhappiness creeps in. It is com-mon to find people, in spite of their fairly comfortable position in life, comparingthemselves with those who are more successful and lamenting in frustration, “Whathave I not done to get that kind of success” (Kim aham s¡dhu na akaravam). By thuscomparing, people become miserable (t¡pa). Then, on the other hand, when one

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suffers, say, from a terminal ailment or from a great personal loss of wealth or pres-tige, one tends to lament what p¡pa or misdeeds has one committed to suffer so(kim aham p¡pam akaravam iti).

A third point to be noted is that karm¡≈ayas or saµsk¡ras produce habits. Peo-ple who are used to p¡pakarma, such as lying, harming others, and so on, have dif-ficulty changing the bad habit (saµsk¡ra). How difficult it is to stop smoking ordrinking even when the first bad health symptoms appear? Then there are thosehabits that pertain to one’s own citta. The citta is made of three gu∆as, sattva(order), rajas (energy), and tamas (disorder). The citta keeps changing in its vƒttisof sattva, rajas, or tamas. When the citta is sattvic, one tends to be righteous, butwhen it becomes tamasic or rajasic, the same person acts differently. This changein moods and the resultant actions produce their own p¡pa and pu∆ya results. So theentire future is strewn with dangerous uncertainties and the possibility of experi-encing sorrow has a high probability. But one may say, “You are looking only at thethorns and not at the roses that come along in life.” Vy¡sa here compares a viveki(a discriminating person) to the eye, which is extremely sensitive when comparedto other parts of the body. The eye reacts and instantly suffers even when a spider’sweb brushes against it, for example, whereas the rest of the body will barely feel it.So is the sensitivity of the viveki who feels that everything in life is only misery,and to him the following is addressed. Having realized that the beginningless, end-less, and aimless journey from birth to birth gives rise to misery alone, Patañjaliadvises the sensitive yogi to find ways and means to end this misery once and forall (heyam d¶˙kham a©agatam).

If we have to eradicate an ailment, we have to know its cause. If the kle≈a ofavidy¡ is to be destroyed and not merely weakened, as kriy¡yoga can help facili-tate, one has to know the nature of avidy¡. It has already been said that avidy¡ is akle≈a. If one is to completely eradicate transmigratory existence, the fundamentalconfusion (avidy¡) about the nature of the Self has to be removed. The true Self andthe ego appear to be one and the same—they appear so completely intermingled(samyoga) that one does not see that they are absolutely different from each other.This samyoga, or apparent identity or sameness of the two distinctly different prin-ciples, in the ordinary, nondiscriminating mind, is the cause of all kle≈as. The self-locus or ego is something that is experienced. When one is awake or in a dreamstate, one experiences the separate identity of the individual. Since it is experi-enced, it is called dƒ≈ya—that which is seen. Anything that is seen is not the seer.If the citta can realize that the seer (draß†ƒ) is different from the seen, including theego or self-locus, half the battle is won. To reinforce the understanding of thedichotomy between these two subtle principles, Patañjali explains that what is seen(prakƒti) is composed of three gu∆as and consists of twenty-four tattvas, evolving infour stages, the stages being the unmanifest (ali©ga), the manifest (li©ga), the sub-

tle (avi≈eßa), and the gross (vi≈eßa). What is seen gives experiences and, in the caseof a yog¡bhy¡s•, triggers involution (apavarga) of the citta to its basic constituentsso as to attain a balance of the gu∆as (s¡my¡vast¡) through s¡myak-dar≈ana, or cor-rect perception of the self. The twenty-fifth principle, purußa, the seer, which onlysees (without likes or dislikes, unlike the ego), has none of the changing qualities ofthe citta. Even so, the purußa is constrained to oversee all the vƒttis of the citta allthe time. Thus, while the true Self is pure consciousness, the ego is subject to likesand dislikes, as part of the observed prakƒti. And the prakƒti or citta has no functionexcept to act for the assumed benefit of the seer. The S¡µkhyas use an example toexplain this concept. Take the case of a sincere performing artist, a nartaki(dancer). She is a very skilled performer and her only aim is to satisfy her patron,who is sitting in front of the stage and watching her perform. The nartaki exhibitsall her skills to humor the patron, but has no way of knowing what will please himor if he is satisfied with her performance. She makes her own judgments and keepschanging her strategem, until after dancing a long time, she wonders if herpatron/observer is really interested in her performance. Slowly she realizes that theobserver has no particular interest in her skillful performance, that he is self-con-tained. Once she realizes that her patron is totally uninterested in her performance,she will cease to dance. Likewise, when the citta realizes that the real Self is self-contained and is totally unaffected one way or the other by the various vƒttis aimedat satisfying the Self (after all, the mind always endeavors to satisfy the Self), it willcease to function. That is the nirodha avasth¡ for the citta and kaivalya (freedom)for the purußa. This takes place owing to the correct perception by the citta of thenature of the Self. So the yogi will keep the s¡myak-dar≈ana, or perfect vision, with-out any intrusion by an imperfect impression of the Self that results from avidy¡.

When once a yogi is able to maintain this correct perception of the true natureof purußa without any slide back to avidy¡, or confusion, he crosses, according toPatañjali, seven mental levels (citta bh¶mis). For the yogi who has acquired thesharpness of a viveki (discrimination), the seven lower levels of citta in which thevast majority of humanity functions will have been transcended. These levels areeasily recognizable. The first is called jijñ¡s¡, or the general desire to know. All ofus have an insatiable desire to know about several things. The person who has notacquired the correct picture will continue to have the desire to know. The viveki-yogi, however, having known the nature of the Self, concludes that his search forknowledge has come to an end and no other aspect of this world or other worldsinterests him any longer. He transcends jijñ¡s¡, the desire to know. The secondlevel common to all aviveki beings is to get rid of anything that is considered unde-sirable. Having known that “I” should really refer to the nonchanging pure Self, theyogi has nothing to get rid of, since the Self is not affected by anything at all. If Iam not affected, what should I get rid of? Hence, he transcends the desire to get rid

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of undesirable pain (jih¡s¡). The third level that he has crossed is the desire forachievements (preps¡). By the s¡dhana of yoga, he has obtained the state ofkaivalya, or freedom, and he has nothing more to achieve. His citta stabilizes at thethought that he has nothing higher to achieve, having achieved the highest, his ownSelf, the precious treasure. The next level that he would have transcended is thedesire for action (cik•rß¡). He has practiced yoga s¡dhana so that his citta isabsolutely purified and brought up to the level of nirodha˙ sam¡dhi, and he hasnothing else to perform. Because of the changing qualities of the three gu∆as, thereare three more conditions of the citta that are also transcended. One is ≈oka, ordepression. The yogi overcomes ≈oka as the mind attains absolute peace, havingcompleted all activities with respect to the Self. He has no reservations or fear thatthe citta will again degenerate into nonyogic states and get into the mire of saµs¡ra.Thus he is not afraid (bhaya) anymore. Last, there is absolutely no reason for thecitta to deviate from the state of sam¡hita citta to that of other vƒttis (vikalpa). Thusthe yogi’s citta, after the practice (s¡dhana) of aß†¡©gayoga, will be beyond thestages of jijñ¡s¡, jih¡s¡, preps¡, cik•rßa, ≈oka, bhaya, and vikalpa.

What is the difference between kriy¡yoga and aß†¡©gayoga? It is in the degreeof the cleansing of the kle≈as. An empty earthen pot that previously contained ahighly pungent liquid, even if cleaned with water several times, will still contain thepungent material (like kerosene) in its pores. Likewise kriy¡yoga, even as it cleansthe citta of the kle≈as, to a great extent cannot completely eradicate them. Whenthe pot is heated, the pores are also cleaned, and the pot does not smell of the pun-gent substance anymore. In the same way, aß†¡©gayoga completely purifies thecitta of the kle≈as. It is done in stages. Aß†¡©gayoga is a step-by-step, deeper, andsubtler cleaning process of the body, senses, mind, and intellect.

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6The Eight-Part Yoga andIts Ten Commandments

PATAÑJALI STATES THAT THE PRACTICE of kriy¡yoga, which helps toreduce mental kle≈as, is for the old and the weak, whereas the practice of the moreelaborate aß†¡©gayoga is recommended for the middle-order yoga aspirants.Aß†¡©gayoga effects a deeper and subtler cleansing process of the body, the senses,the mind, and the intellect, weakening, in the process, one’s attachments and alsoaversions to material objects and desires, such as reaching heavenly consciousnessand avoiding hell. One’s mental clarity is phenomenally enhanced by aß†¡©gayoga,and the limit is perfect objective knowledge—up to achieving the distinctive knowl-edge (viveka ky¡ti) of the purußa (seer) and the observable prakƒti. Aß†¡©gayoga,which comprises eight different types of activities, is, however, divided into exter-nal and internal processes (bahira©ga and antara©ga s¡dhana). Of these, the firsttwo a©gas, yama and niyama, the self-controls and restraints (dos and don’ts), arethe preparatory steps. The first a©ga, called yama, means control. It consists of anattitudinal practice of the yogi toward objects that are external to him. This helpsthe yog¡bhy¡s• to reduce significantly the distraction caused by the external world.In fact, the niyamas and yamas taken together form ten commandments(mah¡vratas, “great vows”) that the aß†¡©ga yogi has to follow. The don’ts (yamas)are don’t harm (ahiµs¡), don’t lie (satya), don’t steal (asteya), don’t philander(brahmacarya), and don’t accumulate (wealth) (aparigraha). The dos (niyamas) arekeep clean (≈auca), develop contentment (saµtoßa), practice austerity (tapas), studythe scriptures (sv¡dhy¡ya), and surrender to the Lord (°≈varapra∆idh¡na). Thesetwo, yama and niyama, are the first steps the yogi has to be firmly established in

before the other steps like postures and yogic breathing can be effective. Sincethese “commandments” are not stressed sufficiently in modern days, I shall expandupon them here.

Ahiµs¡ hi paramo dharma˙: ahiµs¡, or nonviolence (not harming), is the great-est piety. Not harming any being, whether by mind, words, or physically, is ahiµs¡.Among all the yamas, ahiµs¡ is the most important. All other aspects of yama arethere so that the yogi will be a harmless person. The definition of a Hindu is hiµs¡td¶yata iti hindu˙, “one who refrains from harming anyone.”

Not lying, or always speaking the truth, is the next aspect of yama, but it shouldbe consistent with the earlier injunction “Don’t harm.” A sage, dedicated to the lawof always speaking the truth, was walking along the bank of a river. There were afew urchins stoning a turtle that had climbed up the bank from the river. It had man-aged to save itself with its hard back and by its instinct, drawing in all its limbs andits head. The urchins asked the pious sage how they could kill the turtle. Beinggiven to speaking the truth always (satya vrata), he said what was obvious to every-one except the children. Thereupon the urchins turned the turtle over and attackedits soft belly, whereupon it died. The sage had to bear the karmic effects of killinga helpless animal in his next life. Even as he spoke the truth, the more importantVedic and yogic injunction of not harming any being (na hiµsy¡t sarva bh¶tani) wastransgressed. It is therefore said that one has to make sure that what one does, doesnot violate this injunction. In situations where speaking the truth will be harmful, theyogi is advised to keep mum (mouna). According to Manu, Satyam bhr¶y¡t priyambhr¶y¡t, na br¶y¡t satyamapriyam. Priyañca na anƒtam bhr¶y¡t, yeßa dharmosan¡tana˙, “One’s communication is to be guided by ahiµs¡ and satya.” Thesan¡tana, or perpetual dharma, is that one should speak what is true and what willresult in good. Furthermore, one should not speak untruth even if it is good. In theabove case, the sage could have kept quiet, as his telling the truth was not going tocreate any good but, rather, would only harm a helpless animal. Both satya andahiµs¡ are Vedic injunctions. The Taittir•ya Upanißad advises Vedic students tospeak the truth and never deviate from the path of satya (satyam vada, saty¡t napramaditavyam). It also says that compassion for all beings is a law (bh¶tyai na pra-maditavyam).

Anything that is taken unlawfully, or anything that is taken by any mode notapproved by the ≈¡stras, is steya, or stealing. Not taking anything that is not theresult of one’s own honest work is asteya. Steya includes crimes of all colors. Tocollect money by coercion or deceit is steya. There is a story in the Mah¡bh¡ratathat may be of interest. Two brothers, ˛a©kara and Likhita, were great tapasvins(sages). They had set up two hermitages (¡≈rama), each one on the banks of theriver Bahud¡. The banks had plenty of trees bearing fruits and plentiful flowers.One day Likhita went to his elder brother ˛a©kara’s hermitage. ˛a©kara was not in

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at that time. As he was waiting, Likhita saw a tree in the ¡≈rama with fully ripefruits hanging from it. Without hesitation, and since he was hungry, he plucked acouple of them and started eating. ˛a©kara returned presently and, seeing his littlebrother eating the fruits, asked him whence he got them. Knowing that Likhita hadtaken the fruits without his permission, ˛a©kara angrily told Likhita that this wastantamount to stealing, and as a tapasvin, he should not let this sin of stealingremain in a dormant state. He directed him, therefore, to go to the king, confess histheft, and receive due punishment. The king, knowing the greatness of the sageLikhita, said he would use his discretionary powers and let him go. But the sageinsisted that he be given the punishment, so that he would be rid of the sin of steal-ing. The king reluctantly awarded the punishment and the hands of the sage wereduly severed. Glad that as a yogi and tapasvin his crime sheet was clean, Likhitareturned to his brother and told him about his encounter with the king. ˛a©kara, gladfor his brother, asked him to bathe in the river and offer oblations to the sun and thedevas (arghya and tarpa∆a). How was that possible for a person who had both handssevered? As he bathed and attempted to do ¡camana with his hand, both the handsgrew back, so the story goes. The happy Likhita narrated the incident to his brother,who said that since he had received the punishment for his crime, he was free of alldefilement, and his own tapas had the capacity to restore his arms, so that he couldcontinue with his spiritual journey.

Since anything that is unlawfully taken is a theft, those who practice yoga shoulderadicate from their minds the evil desire to covet. Brahmacarya, here, refers toself-control and scrupulously respecting the institution of marriage. Parigraha is thedesire to accumulate material things and wealth, and aparigraha is the consciouseffort to overcome this desire for material objects. As one develops this controlledattitude toward other beings and objects, the mental tribulations arising out of trans-actions with others and objects in the world around one are reduced.

Once the yog¡bhy¡s• develops yama, then he is less likely to be disturbed byexternal things. He can then examine his own personal habits and make necessarychanges so that his bad habits (saµsk¡ras) are not a hindrance to sam¡dhi. The firstniyama is called ≈auca, or cleanliness. It is again divided into b¡hya and anta˙, orexternal and internal. The Ha†hayogaprad•pik¡ gives a fairly comprehensive list ofrequirements and methods for ≈auca. External ≈auca refers to keeping the bodyclean by having regular baths in pure water. References are also made to bathingwith mud. In fact there is a Vedic mantra that is spoken while taking a bath usingcertain kinds of mud. The prayer to the devat¡ is to give health and remove all dis-eases through the pores of one’s skin. Internal cleanliness generally refers to keep-ing the mind free of haughtiness, jealousy, or being unduly touchy. There are a fewreligious kriy¡s for cleaning the internal organs, which will also come underanta˙≈auca. ⁄camana, which is drinking three spoonfuls (uddharan•) of water held

The Eight-Part Yoga and Its Ten Commandments 89 D

in the cupped right palm, one after the other, is an internal cleansing procedure. Themantras acyut¡ya nama˙, anant¡ya nama˙, and govind¡ya nama˙ purify the inter-nal organs and the mind as well. Acyuta is the Lord who never falls down from thehighest pedestal, Ananta is the one who pervades the universe and is unbounded,and Govinda is another name of Kƒß∆a and means a cowherd. God is considered thesuperintending force over all beings. As the cowherd gathers the cows and protectsthem, so Govinda protects all beings. Similar metaphors, such as the shepherd, arefound in other religions. ⁄camana as a cleansing process is well known. All theHindu rites or p¶j¡s start with ¡camana. In the ⁄ditya Hƒdayam from the V¡lm•kiR¡m¡ya∆a, R¡ma is described as being purified by ¡camana before his finalencounter with R¡vana: trir¡camya ≈ucir bh¶tva (“having done ¡camana andbecoming clean”).

The next niyama is saµtoßa, or contentment. It is the way to reduce the twotypes of t¡pa mentioned in chapter 5. A yogi or a yog¡bhy¡s• has to be content withhis present position and not hanker after anything that is worldly, as that will onlytake him in the direction opposite to the the yogic goal. The other three niyamas,namely, t¡pas, sv¡dhy¡ya, and °≈varapra∆idh¡na, have been discussed already.°≈varapra∆idh¡na here would refer to surrendering the results of all pious activitiesdone by the abhy¡s• with love and devotion to °≈vara. One stops accumulatingpu∆ya by such an offering.

It is said that no person, not even a dimwit, will commence an arduous under-taking without knowing of its benefits. Some of the benefits of yama and niyama,or the ten yogic commandments, should be described. These two preliminary a©gas,by their own strength, impart their own benefits, even if one is not able to achievethe ultimate goal of yoga in this lifetime. If one becomes, by diligence, firmly estab-lished in ahiµs¡, friendliness will be reciprocated. One will encounter no enemies,and hence will be free from being harmed by secret or openly inimical activities.One can progress, therefore, without hindrance in one’s chosen ambition of self-realization. One’s nonviolence should be total—of thought, word, and deed. Itshould be noted that many religious rites in the Vedas and other scriptures permitharming other beings as part of the rituals. But the performers of the rites not onlyget the benefits of the religious rites but also have to bear the cross, as it were, forcausing pain to other beings. A yogi is advised to observe nonviolence without anyexception—not only because he is convinced about the uplifting effect of nonvio-lence but also because he is not interested in heaven and the higher worlds men-tioned in the ≈¡stras. So his nonviolence is total. If the yog¡bhy¡s• is wellestablished in truthfulness, his actions will always produce the right results. ThePur¡∆as talk about those sages who stick to truthfulness getting the power for ≈¡pa(curse) and anugraha (conferring a boon). When one is established in nonstealing,or develops a trusteeship approach toward wealth and earns money only from hon-

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est (nijarkama) and prescribed (svadharma) duties, he paradoxically comes to pos-sess and manage wealth. Nonpossession, or aparigraha, frees the mind from wor-ries and activities about protecting one’s wealth and helps one continue on the pathof self-realization.

Some reflections on the dos and don’ts (yamaniyamas) for an aß†¡©ga yogi arein order. Certain practices and attitudinal changes are necessary and sufficient pre-requisites before the practices pertaining to one’s own body and senses can be takenup, which practices require a mind free from internal and external distractions.What is called for is a deliberate attempt to practice these dos and don’ts so that theearlier habitual and slavish tendencies of the mind to follow the dictates of thesenses and their objects are minimized. This is, however, easier said than done.Patañjali recognizes that the difficulty is mainly the result of our childhood habitsand conditioning, as well as the latent tendencies acquired through many previousbirths. To help the earnest yog¡bhy¡s•, he suggests keeping in the back of one’smind the thought that one has taken up yoga after having been convinced that it isthe only and last resort to attain peace of mind. The yog¡bhy¡s• should think repeat-edly that the motivations behind all actions inconsistent with the commandmentsare greed, enmity, and infatuation, and these will only and invariably lead to end-less misery and confusion. All yoga practice, whether ¡sana, pr¡∆¡y¡ma, orantara©ga s¡dhanas (internal or mental exercises), will be of little use, and the ben-efits, if any, will be only temporary if done without the preparatory a©gas. Practiceof mere ¡sanas without change in diet and other attitudinal changes is perhaps thecause of much disappointment among yog¡bhy¡s•s.

Patañjali, in his great compassion for the struggling yog¡bhy¡s•, has thus indi-cated the benefits that accrue even from preliminary practices. In the G•t¡, Kƒß∆aencourages Arjuna and other devotees to take to the spiritual path through the prac-tice of classical yoga. He cautions them that they may not be able to achieve theend result of yoga, whether it be self-realization or God-realization. But theirsaµsk¡ras will lead them (through the grace of God) to be born into a family ofyogis or to be born into a well-to-do family. Then they can pursue the practice ofyoga without the compelling need to spend all their time and energy earning alivelihood or without spending a lifetime in search of a yogi or guru.

The Eight-Part Yoga and Its Ten Commandments 91 D


PA R T T W O

Yoga Sa-dhana,or Practice

7Standing Postures

There are sixty-four arts. Yoga is one of them.

HAVING WITHDRAWN THE MIND FROM THE EXTERNAL environment byyamaniyamas, the next set of distractions, which arise from one’s own body, needto be addressed, and thus Patañjali mentions ¡sanas as the third a©ga ofaß†¡©gayoga. He does not, however, describe the techniques or the variety of¡sanas that are possible, nor their specific benefits. But following the dictum anuk-tam, anyato grahyam (“what is not mentioned in a text has to be acquired from othertexts”), one needs to study other relevant texts on yoga to get a detailed under-standing of ¡sanas and their benefits. Since ¡sanas are an a©ga of purification,Patañjali has only to state that perfection of the body accrues to one who has mas-tered this aspect of yoga. Mastery in this case would mean being able to stay in an¡sana comfortably and steadily, which requires the good circulation, respiration,muscle tone, and nerve strength that ¡sanas help one to achieve. Since ¡sanas arean important and perhaps the most widely known aspect of yoga, it is necessary todwell on this part of yoga practice. Mine is a humble attempt to explain the tech-niques and benefits of the practice of ¡sanas, given my limited capacity to appreci-ate the nuances of the viny¡sa system of my teacher.

It is said that the total number of ¡sanas is uncountable: ⁄sananica t¡vanti,y¡vanto j•vara≈aya˙. Yoga texts mention that there are as many ¡sanas as there arespecies of animals. Even so, about eighty ¡sanas are currently believed to be invogue. In the olden days, it is said, people prevented and even eradicated diseases

by means of pr¡∆¡y¡ma and ¡sanas (breathing exercises and postures). Accordingto some ⁄yurvedic books, ailments that are chronic and those that are not curableby medical science (vaidya ≈¡stra) and drugs can be cured by ¡sanas andpr¡∆¡y¡ma. Since ⁄yurveda and Yoga derive inspiration from S¡µkhya philoso-phy, it may be worthwhile for ⁄yurvedic practitioners to make use of yogic meth-ods of treatment along with ⁄yurvedic applications. Because yoga is a proactivemethod of treatment requiring the involvement of the patient, the patient’s confi-dence level rises when the cure is brought about with the help of yogic breathing,¡sanas, and meditative methods. Unfortunately, during the dark centuries of thepast, many of our ancient scriptures on yoga therapy have been lost.

The practice of ¡sanas has become popular again after a lapse of a number ofyears. It is suggested that the daily practice of yoga should start with a prayer toone’s iß†a devat¡ (favorite deity) and also to Ananta, or N¡garaja, or Patañjali. Amechanical approach to the practice of ¡sanas—merely achieving a posture some-how—may not give the anticipated results; a certain degree of preparation is nec-essary. The chanting of the Vedas, for example, should be done with ud¡tta,anud¡tta, and svarita (three notes); this sasvara (with notes) chanting has beengoing on since time immemorial. There are also specific rules for composing tradi-tional music and poems. Finally, if one offers p¶j¡ to a deity (p¶j¡ vidh¡na), thereare various requirements that need to be observed for fruition of the p¶j¡. The prac-tice of yoga, especially ¡sana and pr¡∆¡y¡ma, will not deliver its full benefits with-out similar kinds of preparations and variations (viny¡sas) in the various postures.Without these viny¡sas, ¡sana practice is only as good as any other physical exer-cise. It is of little use if one learns a dozen well-known ¡sanas and practices themwithout the viny¡sas. It was my ¡c¡rya’s contention that the disillusionment ofmany yog¡bhy¡s•s with yoga results from their practicing ¡sanas without the yama-niyamas, viny¡sas, pratikriy¡s, synchronous breathing, and work with the bandhasand instead with a nervous urgency to achieve quick results.

Yet another important factor in ¡sana practice is the use of breath while doingthe viny¡sas and ¡sanas. Here also, many schools teach yoga without any referenceto breathing in ¡sana practice, and some actually discourage the use of the breath,on the plea that the practice of breathing is a separate “limb” of aß†¡©gayoga,pr¡∆¡y¡ma. Actual practice shows, however, that deliberate synchronous breathingwith viny¡sas is necessary in ¡sana practice to attain the results mentioned in vari-ous texts. In the Yogas¶tras (2.46), Patañjali mentions making use of the breath toachieve perfection in posture, which entails steadiness and comfort (sthira andsukha). In the s¶tra immediately after defining ¡sana, Patañjali suggests the meansof attaining perfection in postures when he says (2.47), prayatna ≈aitilya anantasam¡pattibhy¡m. The word prayatna is normally taken to mean “effort.” While this isgenerally correct, the word should be construed as a technical one, and its appropriate

Standing Postures 95 D

meaning investigated. Several authors and commentators have taken the word tomean “general effort,” which translates into asking students not to force themselvesinto a posture but, rather, to ease into it. Ny¡ya, a sister philosophy, splits prayatnainto three groups. These are pravƒtti, nivƒtti, and j•vana prayatna. Pravƒtti and nivƒttiare the citta vƒttis (discussed earlier) and their corresponding physical actions, suchas moving forward to meet and greet a friend or taking evasive action from beinghit by a speeding car. J•vana prayatna, however, refers to the efforts made by theindividual to maintain life and, more especially, breathing. This is the s¡m¡nya vƒttireferred to in chapter 4. Hence the word prayatna should be taken to mean “theeffort of breathing.” And it should be made smooth (≈ithila, from which comes ≈aith-ilya, “relaxation”). Thus, during the practice of ¡sanas, the breath should be smooth,and in my teacher’s system it is therefore mandatory to stop one’s practice and torest when the breath is not smooth. Shortness of breath is associated with a frag-mented mind (≈v¡sa pra≈v¡sa˙, vikßepa saha bhuva˙) and thus synchronized,smooth, long breathing (both inhalation and exhalation) becomes the sine qua nonfor ¡sana practice in viny¡sakrama.

Patañjali’s s¶tra also mentions sam¡patti, or “fixing the mind.” It is common tofind people’s minds wandering as they practice ¡sanas, especially when they getused to them. One’s effort becomes mechanical, a habit, like driving a car, whenone is not completely focused. So what should the mind focus on? The answer isalso in the s¶tra, in short, on ananta (ananta sam¡pattibhy¡m), which word literallymeans “unbounded” or “infinity” (an + anta = ananta); certain schools suggest thatone should concentrate on infinity while practicing ¡sanas. This is difficult—almostimpossible—for the beginning practitioner even to attempt. Ananta, however, is thename of N¡garaja or ⁄di≈eßa, whose avat¡ra Patañjali was. One should therefore—some yoga traditions require it—contemplate the figure of N¡garaja or Patañjali,whose icons and idols are available in certain temples, and in yoga schools thathave installed the vigraha (icon) of Patañjali. The dhy¡na sloka (invocation prayer)of Patañjali describes his form (¡k¡ra) and his greatness (prabh¡va), and as Ananta,he is the premier proponent and guru of yoga.

The word ananta also means “breath,” which meaning is most appropriate here.Ana is breath (ana ≈v¡se), as in the word pr¡∆a (pra + ana). Thus it is correct to saythat one should mentally follow the breath while doing the movements in the ¡sanas.Close attention to the breath, which should synchronize with one’s movements, issam¡patti, and breath is the connecting link between mind and body. Thus it may beconcluded that while practicing ¡sanas, done with purposeful breathing and fixity ofmind, one achieves steadiness and relaxation, which is ¡sana siddhi (accomplish-ment in ¡sana). Then, one is not affected by pairs of opposites such as fever andhypothermia and other opposing conditions, whether physical or mental. The¡san¡bhy¡s• develops a tolerance for pain deriving from opposites (dvanda) such as

C 96 Standing Postures

heat and cold, ridicule and praise, success and failure; his endurance is greatlyimproved.

There are four factors in yogic breathing. The first is p¶raka, or inhalation. Thesecond, holding in the breath after inhalation, is called anta˙-kumbhaka. The thirdis recaka, or controlled exhalation. The fourth, holding the breath out—as it were—is called b¡hya-kumbhaka. All yoga movements are done deliberately and with aspecific type of breathing. There are some movements that should always be donewhile inhaling, and there are others that should be done while exhaling. Then onecould stay in a posture while holding the breath in or holding the breath out, or onecould do a controlled cycle of yogic breathing while remaining in the posture. Butthere are some movements that can be done during either breathing in or breathingout, depending upon the condition of the practitioner and the results desired fromthe practice. Moving during inhalation and holding the breath in is brahmana kriy¡,and moving while breathing out and holding the breath out is langhana kriy¡. In⁄yurveda, or the science of medicine (or life), brahmana kriy¡ refers to nourish-ment and langhana kriy¡ to fasting, but these words mean something different inyog¡bhy¡sa. The kriy¡s in sattvic yoga practice are the use of natural air in clean-ing the n¡∂•s and not the use of cloth or other external aids. Thus the use of breathin ¡sanas helps one to relax and attain the desired posture. The breath helps one toreach and work on the deeper muscles and organs inside the body, which may notbe possible otherwise. In addition, it has been found that with deliberate breathing,one’s mind is not allowed to wander, but is committed to following the breath. Yogapractice becomes much more purposeful. Yogi N¡thamuni, believed to be theauthor of Yoga Rahasya, calls each of the sixteen chapters of his treatise a kal¡, aword that means “art.” As in music or any other art form, one has to develop sensi-tivity and skill with deliberate practice and intense concentration.

Like medicines, yog¡sanas have good effects but may also have some minorside effects, which are essentially physical. To counteract them, every involvedposture has a counterpose or a sequence of countermovements that help to preservethe effects of the main ¡sana and counteract any undesirable aspects. For instance,≈•rß¡sana has positive effects on the system. But it has to be followed bysarv¡©g¡sana. If sarv¡©g¡sana is done as the main posture (say, for ten minutes orso), it has to be followed up with a mild back-bending and neck-stretching exercise,like bhuja©g¡sana or ≈alabh¡sana, and followed by the sitting posture padm¡sana.In fact, some of the counterpostures, or pratikriy¡s, help to retain the benefits of themain posture. The ≈•rß¡sana-sarv¡©g¡sana combination of main posture and coun-terposture is but an example. One has to see the effect of doing ¡sanas and theircounterposes diligently to feel the difference between an organized regimen orplanned sequence of doing ¡sanas and viny¡sa and practicing ¡sanas at random.Apart from the emphasis on conscious breathing in ¡sanas, as one makes progress


in one’s practice, the use of bandhas, which involves the contraction of specificgroups of muscles, is recommended for gaining more benefits from ¡sana practice.Of the many such bandhas, three are very important. The m¶la bandha requires thedrawing in of the rectum, the pelvic diaphragm, and the lower abdomen as if totouch the backbone (to reach perfection). This is done after exhalation. It should benoted that, at least in the initial stages, one has to practice brahmacarya (absti-nence) to attain a mastery of m¶la bandha. The udd•y¡na bandha is the in-drawingof the navel region, again as if to touch the back bone, and the raising of thediaphragm so that the abdominal region becomes scaphoid, or boat-shaped. It isobvious that people who are obese will not be able to do udd•y¡na bandha satis-factorily, and hence the need for dietary control, or tapas, in ¡sana practice to bringthe body back to its proper shape. The j¡landhara bandha involves stretching theback of the neck and pressing the chin against the breastbone, about three inchesbelow the neck. This effectively controls the air passage during breathing, and it isa great aid for both pr¡∆¡y¡ma and controlling one’s breathing in the practice of¡sana viny¡sas. These three bandhas (bandha traya) are important in the practiceof ¡sanas. It may not be possible for beginners to practice these at the outset of theiryoga practice, but they will have to do so as they progress. It should be noted, how-ever, that work with the bandhas should not be attempted without the guidance of acompetent teacher who himself has practiced and mastered them. (For more on thebandhas, see chapter 8.)

The author of the Ha†hayogaprad•pik¡ mentions that, irrespective of age andphysical condition, anyone can start the practice of yog¡sanas, but that it is regularand involved practice that brings results (siddhi): Yuva vƒddho ati vƒddho vyadhitodurabalopi v¡. Abhy¡s¡t siddhim ¡pnoti, sarvayogeßu atandrita˙.

It should be mentioned that yoga is useful to children and women as well. Tra-ditionally, in ancient India, among Hindus, children at the age of seven used to beinitiated into Vedic karma (activities mentioned in the Vedas and complementaryscriptures) after their upanayanam (initiation). Sandhy¡, or the daily oblations doneat dawn, dusk, and midday, includes ¡sanas like utka†¡sana, utt¡n¡sana,padm¡sana, among others, and pr¡∆¡y¡ma, or breath control, with mantra followedby japa (repetitive chanting and meditation) of the sacred g¡yatr• mantra. It isapparent that children were practicing yoga in ancient India, and they may do so aswell in the present day, even though such practices are not as commonplace now.

With regard to the controversy about whether women are fit for integral yoga,there is ample evidence to show that interested women were initiated into yoga.The Yoga Y¡jñavalkya and the ˛iva Saµhit¡, two authentic texts on yoga, are actu-ally the teachings of Mah¡ƒßi Y¡jñavalkya to his highly talented wife Maitrayi, andof Lord ˛iva, known as Lord of Yoga (Yoge≈vara) to the goddess P¡rvat•, respec-tively. In the Yoga Rahasya, Nathamuni specifies ¡sanas such as pan÷ca kon¡sanas


(five kona postures) as aiding the development of the fetus, and certain others, suchas p¡≈¡sana, are said to prevent conception (garbha nirodha). Furthermore, thereare a number of ¡sanas and pr¡∆¡y¡ma that are useful in the correction of suchgynecological conditions as prolapse of the uterus, postnatal disorders, menstrualdisorders, and so on. It should be noted that yog¡sanas should be practiced accord-ing to samprad¡ya (tradition) to attain the benefits mentioned in the texts. The pad-dhati (system) of our ¡c¡rya based on the ≈¡stras is that one should practice ¡sanaswith the necessary constraints (yamaniyamas) or prerequisites. Any practice shouldbe done with preparation, progression, and variation of postures (viny¡sa), as wellas corresponding synchronous, conscious, and modulated breathing, the whole inter-spersed with stipulated counterposes and countermovements (pratikriy¡s) thatemploy the bandhas and mudr¡s at the appropriate stages.

T¡∂¡sana, or Samasthiti,and Its Variations (Viny¡sas)

©

⁄sana practice directly helps to improve one’s health and flexibility (arogyama©gal¡ghavam ca). ⁄sanas can be broadly classified into standing, sitting, supine,prone, balancing, and inverted (vipar•ta kara∆•) postures. In this chapter the impor-tant standing ¡sanas and their useful viny¡sas will be discussed. Samasthiti, ort¡∂¡sana, is the starting and ending position in the practice of ¡sanas. It involvesstanding erect, with one’s feet together and fully resting on thefloor. It is better for the standing postures to stand on a hard floorrather than on one heavily carpeted, because one’s feet will sinkinto the pile of the carpet and balance will be more difficult tomaintain. The ankles should be kept together, and those who canshould also try to keep the knees and thighs close together. Be surethat the knees are not flexed. The chest should be kept erect andthe shoulders slightly thrown back, so that the shoulder blades aredrawn closer to each other, forming a canal along the spinal col-umn in the back. This samasthiti is the first standing posture in theviny¡sakrama of the t¡∂¡sana (mountain or tree posture) group.

Since this group of ¡sanas and viny¡sas involves doing move-ments while standing, a good sense of balance is necessary anddesirable. Thus you should check how good your balance is. Insamasthiti, keep your head down, close your eyes, and observeclosely how well you balance on both feet. There will be some


Samasthiti with j¡landhara bandha

swaying felt, but if you feel that you sway too much, and this swaying is accompa-nied by rapid breathing, this indicates that you are not in a fit condition to do yoga,at least for the time being. This could be the result of temporary illness, lack ofsleep and rest, or a distracted or disturbed mind. If you otherwise feel fine, startslowly following the body’s balancing act as it sways from side to side. Stay in thisposition for at least two minutes, and slowly the amplitude of the sway is reduced,and you will feel that you are in a better condition to proceed with the practice.Then check your breathing by directing your attention to your breath, to the airgoing in and going out. Or better still, focus your attention on the point from wherethe chest starts expanding and toward which it appears to contract. If your breath-ing appears heavy and fast, you may not be able to do ¡sanas, because long andsmooth breathing is necessary. As you watch the breath, the whole movement willslow down, and after watching the breath closely, you will be in a position to startthe viny¡sas and ¡sanas in this group. Breath and balance are the first thingschecked by the yog¡bhy¡s• before proceeding further.

The variations, or viny¡sas, of t¡∂¡sana now follow. In each of the followingviny¡sas, except in cases where the head is turned to the side or the neck is bentback, after complete exhalation lock your chin against the top of your chest (againstthe breastbone); this is the j¡landhara bandha, or chin lock, mentioned earlier. Forviny¡sa 1, slowly and deeply inhale with a rubbing sensation in the throat and raiseboth arms straight overhead, interlocking your fingers and turning your hands out-ward. The movement of the arms is made alongside the body, slowly stretching theknees, hips, sides of the chest, shoulders, elbows, wrists, and neck. The inhalationand the completion of the movement should synchronize. One should adjust thepace of the movement to the breath, the slower the better. Breathing should be donewith a hissing sound in the throat—the sound created by the partial closing of theglottis, which is aided by the chin lock. After a momentary pause, slowly exhalewith a hissing sound in the throat and again lower your arms along the sides of yourbody, synchronizing your arms’ movement with the outflow of the breath.

The next viny¡sa (2) involves raising your arms overhead, but moving them infront of the body as you inhale while pressing your feet, especially the big toes, intothe floor. This helps to stretch the front of the body (p¶rva bh¡ga), especially theshins, knees, thighs, pelvis, abdomen, chest, and arms. Your fingers should be keptstraight (not interlocked as in the previous viny¡sa). Exhale slowly while loweringyour arms, in the reverse route taken to raise them up. For the third viny¡sa, crossyour hands and put them on the opposite thighs. As you inhale, sweep your arms(slowly, please) and bring them up to the level of the shoulders so that they are fullyextended sideways. Exhale slowly and lower your arms to the sides. This helps toopen the chest. While completing the inhalation, gently push your chest slightly for-ward so that your shoulder blades touch each other.


For a third viny¡sa int¡∂¡sana, start from samasthiti;as in the inhalation part of thefirst viny¡sa, raise your armsoverhead, interlock your fin-gers, and turn your hands out-ward. As you exhale, bend yourelbows, keeping your chestpushed forward, and whilebending your elbows, loweryour forearms (with fingersinterlocked) to the farthestextent possible, keeping yourhands behind your neck. Yourhands, with fingers interlocked,should continue to be turnedupward. Then, while inhaling,raise your arms overhead,stretching your body along thesides in the process. Thenexhale and return to samasthiti.

The fourth viny¡sa beginswith the same initial movementas the first viny¡sa—that is,raising the arms while keepingthe fingers interlocked andturned outward. Then, separateyour hands and keep them fac-ing front. As you exhale, bendyour elbows and place yourpalms on your shoulder blades,with your elbows pointing up,keeping the chest slightlypushed forward. Then inhale,raise your arms overhead,exhale, and lower your arms.

For the fifth viny¡sa, the initial movement is again the same as for the firstviny¡sa, in which the arms are raised with the fingers interlocked and turned out-ward. In this sequence, as you exhale (as in the fourth viny¡sa), bend your elbowsbut place your palms on opposite shoulder blades, crossing your hands behind your


T¡∂¡sana (viny¡sa 2) T¡∂¡sana (viny¡sa 3)

T¡∂¡sana (viny¡sa 1) T¡∂¡sana (viny¡sa 1) (front view)

neck so that your elbows arepointing up again. Your chestshould be pushed forward.Then, as you breathe in, raiseyour arms overhead, interlockyour fingers and turn them out-wards. Exhale, lowering yourarms back to samasthiti.

For the sixth viny¡sa, as youcan probably predict, begin byraising your arms overhead as inthe first one. While exhaling,bring your arms all the waydown and bring your handsbehind your back, joining thepalms. Now turn your joinedhands with fingers pointing up

and touch your back near the bottom of your spine. As you continue the exhalation,gently slide your hands upward, all along the spine, until the joined hands (palmsagainst each other) are between your shoulder blades. The hands’ position is knownas añjali, and because it is on the back, it is called pƒß†¡ñjali. Those who have stiffnecks and shoulders should not force themselves to do this particular viny¡sa. Inhaleslowly, lower your arms, and then raise them upward, interlocking the fingers. Exhal-

ing, return to samasthiti.For yet another variation,

inhale and raise both armsoverhead, interlocking your fin-gers and turning the hands out-ward. Release the interlock,and, as you exhale, slightlybend back, rotating your shoul-ders with the outward move-ment of your arms at shoulderlevel, then bring your arms for-ward so they are straight infront. This provides a goodrotating movement to the ball-and-socket joints of the shoul-ders. Then as you inhale,retrace the path and end with


T¡∂¡sana-hasta viny¡sa 6, (variationof hand position; pƒß†¡ñjali)

T¡∂¡sana viny¡sa 5

T¡∂¡sana (preparation for shouldermovements)

T¡∂¡sana(shoulder movement)

your arms up with fingers inter-locked and turned outward.Then as you exhale, releaseyour hands, lower your arms infront of you up to shoulder level(your palms facing downward),and continue the movement ofpushing or sweeping your armsback at the level of the shoul-ders. The movement of thearms is done at shoulder level,until the shoulder blades toucheach other and the chest ispushed forward. Inhale andreturn. This viny¡sa is a goodand complete exercise for theshoulders. Together these willbe a fairly exhaustive set of viny¡sas for the arms.

Still another viny¡sa is called p¡r≈va-bha©gi, or side posture. Raise your armswhile inhaling, as in the initial viny¡sa. As you exhale, press your feet into the floor,push your left hip out slightly, and bend to the right side, stretching the left side ofyour body, especially the side ribs. The posture resembles a small, supple treeswaying in a heavy north wind. The upper body should neither stoop forward nor bepushed backward. The wholemovement should be done inthe vertical plane. Inhaling,return to the starting position.The same movement isrepeated in the opposite direc-tion as well, so the movementsact as pratikriy¡s (counter-movements) to each other. It isgood to keep feet and kneestogether (without bending) allthrough the process.

The next viny¡sa, “the torsotwist,” is a variation of p¡r≈va-bha©gi and will again requirethe same initial movement asthe first. Then while exhaling,


T¡∂¡sana (shoulder movement) T¡∂¡sana p¡r≈va-bha©gi

T¡∂¡sana p¡r≈va-bha©gi,torso twist (preparation)

T¡∂¡sana p¡r≈va-bha©gi,torso twist

twist your upper body to theright side to the farthest extentpossible, stretching your neck,and look up. The position ofyour feet is not altered, and yourknees should be kept togetherwithout buckling. Then inhaleand return to the standing posi-tion. You should then do thesame movement on the left side.The same twisting movementcan be done with different posi-tions for the arms. The easierviny¡sa involves raising yourarms to the sides up to shoulderlevel on inhalation. Then as youexhale, turn to the right side,

pressing your feet into the floor and not moving them. As you turn, your head is alsoturned and looks over your right shoulder. The spine is given a good twist (like a halfturn, or less, of a screw); the entire spine participates in the whole movement. Inhale,return, and repeat the movement on the other side. A more difficult hand positioninvolves doing pƒß†¡ñjali for the hands, as mentioned earlier. Then, after inhalation,exhale, and, with your hands completely locked behind your back, slowly turn to theright side and also turn your head to look over your right shoulder. Since the arms arelocked, it will be rather difficult to maintain your balance and also do the turningmovement in the viny¡sa satisfactorily. Inhale, return to the starting position, andrepeat the movement on the other side as well.

It should be noted that the above set of viny¡sas in t¡∂¡sana helps to exercisethe chest muscles and all the auxiliary muscles used in breathing. Since the wholeset is done with deep and full breathing, the chest muscles are also exercised fromwithin. The thorax and the spine—which is not free, being attached to the ribs—arealso exercised in a unique way, due not only to the extensive stretching of the armsand the chest muscles but also to the extension provided by slow and deep inhala-tion, which acts as a more complete and natural traction on the spinal column. Sincethe muscles associated with breathing are completed exercised, this set of viny¡saswill prove beneficial to people who suffer from periodic asthma attacks. Theseviny¡sas should not be done during such attacks; but the muscle spasms in peoplewho have breathing problems can to a very great extent be corrected by this set ofviny¡sas for the arms and the torso, done in t¡∂¡sana. Purely for therapy, if thepatient cannot stand and do the viny¡sas, he or she may be permitted to sit or even


T¡∂¡sana p¡r≈va-bha©gi(viny¡sa)

T¡∂¡sana p¡r≈va-bha©gi(with pƒß†¡ñjali)

lie down and helped to do some of the simpler viny¡sas. Which viny¡sas are to bedone and in what sequence can be determined by the therapist upon seeing thepatient, as most asthmatics have poor chest-muscle tone. And for those who tend tohave neck spasms or a narrowing of the vertebrae, the combination of movementsand breathing will form a good traction exercise. The above group of viny¡sasbased in t¡∂¡sana are useful for slowly and deliberately working on the joints,hands, elbows, shoulders, neck, spine, and torso in general. Next in the sequence willbe ¡sanas and viny¡sas for the backbone, hips, knees, and ankles.

The next viny¡sa is again done by raising the arms overheadwhile inhaling and keeping the fingers interlocked, turning themoutward at the end of the movement and the inhale. Then, as youexhale, push your hips back and bend forward, keeping your backstraight and horizontal. Your knees should not be bent. Inhaling,return to the original position, slightly arching your back as youcome up. This posture is called ardha-utt¡n¡sana, or half-stretchingposture. Then, after coming into the posture, inhale and bring thearms, stretched outward, to shoulder level and exhale. Then, as youinhale stretch the arms overhead even as you stay bending forward,pushing the hip and stretching the leg muscles and back. Afterexhaling in the posture, inhale and return to the starting position.Exhale and lower the arms. Another variation of the arms’ positionwill be to do the same movement with the hands in back salute(pƒß†¡ñjali).

The next ¡sana in the group is p¶r∆a-utt¡n¡sana. Inhale onceagain and raise your arms overhead, keeping them in front. As youbring your arms up, bend back a little bit, looking up. As youbreathe out, press your feet and, without bending your knees,slowly bend forward and place your palms by the sides of your feet,on the floor. For those who have stiff posterior muscles, it may notbe possible to go down all the way; in this case you may touch theground with your fingertips, or hold your ankles and shins. Then asyou inhale, pressing your palms against the floor, raise your head,stretching your neck in the process. As you exhale, try to touch yourknees with your forehead; then inhale as you return to the originalposition. P¶r∆a-utt¡n¡sana, or full-stretching pose, involves theposterior parts of the legs, back, neck, and shoulders. If you holdyour big toes with your thumb and fingers, the pose is known asp¡d¡©guß†h¡sana. There are a number of variations or viny¡sas onthis ¡sana pertaining to the position of the hands and palms. Oneimportant variation will be to interlock your fingers with your hands


Ardha-utt¡n¡sana

P¶r∆a-utt¡n¡sana

behind your back. On the next exhalation, bend forward and touch your knees withyour forehead, simultaneously stretching your arms behind your back, stretchedalmost to behind the back of your head. Keeping your palms on your back inpƒß†¡ñjali, or keeping your arms stretched at shoulder level and completing the pos-ture, are some of the variations for the position of the arms in this posture. P¡r≈va-utt¡n¡sana (see p.109) is yet another variation on the utt¡n¡sana posture.

The next group of movements involves the knees. In samasthiti, inhale and raiseyour arms in front to the level of the shoulders. As you exhale, still keeping your feet

on the floor, bend your kneesand squat halfway, with yourthighs parallel to the floor. Youshould keep your chin locked.This posture is called ardha-utka†¡sana, or half-squat pos-ture. There are many viny¡sasfor this posture depending uponthe position of the arms. Fromsamasthiti, move your arms tothe different positions as men-tioned in the beginning of thet¡∂¡sana practice; for example,your arms can be kept stretchedout to the sides at shoulder level,or kept overhead, or kept behindthe back with the hands in theposition of pƒß†¡ñjali, or yourpalms can be kept on the back oftheir respective shoulder blades,or on the opposite shoulderblades.

The next ¡sana in thissequence is utka†¡sana, or sit-ting on one’s haunches (withoutsitting on the floor). Begin asyou would for ardha-utka†¡sana.Inhale and raise your arms infront to shoulder level. Then asyou exhale, keeping your anklestogether and without spreadingyour legs, bend your knees all


Ardha-utka†¡sana (viny¡sa 1) Ardha-utka†¡sana (viny¡sa 2)

Utka†¡sana (viny¡sa 1) Utka†¡sana (viny¡sa 2)

the way until your thighs touch your calf muscles and your kneesare fully bent. Your outstretched arms in front will help you main-tain balance. You should be sure that your heels are not raised inthis posture. Indeed, in all the ¡sanas and viny¡sas that have beendescribed so far, your feet should be kept together. As you inhale,rise to t¡∂¡sana, pressing your heels and stretching your ankles,back, shoulders, and neck. As in ardha-utka†¡sana, the same handpositions (hasta viny¡sas) can be tried while moving into the pos-ture, for example, arms overhead; hands on the back in pƒß†¡ñjali(viny¡sa 3); arms at shoulder level; or palms on the shoulder bladesor on opposite shoulder blades (viny¡sa 4). Of course, one shouldfollow the breathing pattern mentioned while moving the arms tothe different viny¡sa positions.

Yet another ¡sana, a bit more difficult for beginners and olderpeople, requires being in utka†¡sana and then spreading the kneesand thighs while still keeping the feet together. As you exhale,bend forward between the legs, bring your arms back and aroundyour legs, and hold your heels from behind. You may bend forward and touch thefloor with the top of your head, forehead, nose, or chin, each of which is progres-sively more difficult. This is called mal¡sana, or garland posture. Instead of holdingyour heels, you may bring your arms back around your legs and hold hands behindyour back. This is called k¡ñcy¡sana, or belt posture. Inhale to get back toutka†¡sana, exhale, and then return to samasthiti while inhaling.

Another important posture that requires keeping the feet together is p¡≈¡sana,


Utka†¡sana (viny¡sa 2)(front view)

Utka†¡sana (viny¡sa 4)

Utka†¡sana (viny¡sa 4)(back view)

Utka†¡sana pƒß†¡ñjali (viny¡sa 3)

or noose posture. It requiresstarting from samasthiti. Inhale,raise both arms overhead, inter-lock the fingers, and turn thehands outward. As you exhale,turn to the right side, pressingyour feet. As you exhale again,sit on your haunches as inutka†¡sana, except that yourupper body is now turned to theright. On the next exhalation,sweep your left arm around theknees and hold it with your righthand, which has been sweptaround from behind on the rightside. Having a good hold of

your hands and pressing your feet, turn to the right side as much aspossible as you exhale. Inhale, relax the grip, bring your armsoverhead, and return to samasthiti. Exhale and lower your arms.P¡≈¡sana is a very good posture to tone up the entire backbone; italso helps tone the lower abdominal muscles. Digestion improvesand relief from constipation can be obtained with this posture.

Yet another ¡sana that can be done while in utka†¡sanainvolves exhaling while lowering the arms and placing them by thesides of the feet. Inhale, exhale, and then hold the breath out(b¡hya-kumbhaka), press your palms, and raise your trunk, evenwhile staying in utka†¡sana. Your feet are now off the ground, andyou should maintain the posture of utka†¡sana and balance on bothhands. After a few seconds, lower the body and plant the feet on theground. This method of raising the trunk, pressing the palms, andbalancing in a posture is called utpluti. It provides a very good senseof balance and strengthens the arms, and perfection in the postureis achieved. Children and more flexible adults love to do these bal-

ancing ¡sanas. In fact, all sitting postures such as padm¡sana, vajr¡sana, da∆∂¡sana,and so on, lend themselves to this balancing act that is called utpluti (raising up).

Another dynamic sequence of viny¡sas involves doing utka†¡sana and ardha-utt¡n¡sana. From t¡∂¡sana, inhale, raise your arms overhead, and interlock your fin-gers. As you exhale, push your hips back and bend forward, making your upper bodyparallel to the floor. This is ardha-utt¡n¡sana. Then inhale and bring your arms toshoulder level, stretched out to the sides. After the next exhalation, hold your breath


Utka†¡sana (preparation forp¡≈¡sana)

P¡≈¡sana (rear view)

P¡≈¡sana

out and, slightly bending yourknees, gently jump forward acouple of feet, land softly, andsquat on your haunches in aviny¡sa of utka†¡sana. Yourarms should be kept outstretched.Then as you inhale, come up toardha-utt¡n¡sana, still keepingyour arms outstretched at theshoulder level. Inhale, hold yourbreath, and jump back about twofeet, land gently, and sit on yourhaunches in utka†¡sana viny¡saonce again. Inhale, come back toardha-utt¡n¡sana, inhale andstretch your arms overhead, theninhale again to get back tot¡∂¡sana, and finally return tosamasthiti while exhaling. Thisset of viny¡sas is called khag¡-sana, khaga meaning “bird.” Justas a bird with its wings spread outlands on the ground, this set ofmovements resemble the bird’smovement. Children love theseadditional viny¡sas.

Finally, from t¡∂¡sana, in-hale, raise your arms overhead,interlock your fingers, and turnyour hands outward. Exhalingand pressing the balls of yourfeet close together, raise yourheels as high a possible, stretch-ing your body, especially your ankles and calf muscles, in the process. Then whileexhaling, bring your heels down slowly and deliberately, again synchronizing themovement with your breathing. In the beginning you may have difficulty maintainingbalance or keeping your ankles and knees together or stretching your ankles, but ifyou proceed step by step, a few millimeters at a time, you can reach the full stretchof the posture comfortably. This is a good stretching movement, especially if done inthe morning, and it has a tonic effect on the muscles and joints (sandhis). Growing


T¡∂¡sana Preparation for p¡r≈va-utt¡n¡sana

Preparation for p¡r≈va-utt¡n¡sana

P¡r≈va-utt¡n¡sana

children should practice this stretch to aid in increasing their height. It helps to alignall the cakras and consequently all the ko≈as (five sheaths of the body). The t¡∂¡sanagroup could also be considered a good beginning set of exercises for limbering up thejoints and toning the muscles. It should be noted that it may not be possible to reachthe final position itself in the beginning. For some, owing to their physical condition(≈ar•ra sthiti), age, and constitution, it may not be possible to do the stretch even afterconsiderable practice. But the benefits start accruing when one does it consciouslyand with the correct breathing, and when one feels the stretching.

A word of caution against overdoing is warranted here. The built-in controlagainst overdoing it, which is to be avoided, is the breath itself. When it tends tobecome short, it is an indication to the practitioner to rest. One may rest by returningto samasthiti and breathing normally with the mind closely following the breath with-out interfering with it. This built-in check is an additional advantage in our ¡c¡rya’spaddhati. Unless otherwise noted, breathing should be done with the throat constric-tion mentioned in the beginning. This group of ¡sanas, especially utka†¡sana, helpstone up the digestive system. After some practice, when one is steady in the posture,m¶la bandha and udd•y¡na bandha can be attempted after exhalation (have yourteacher by your side when you start to learn this practice). After some experience hasbeen gained, one may stay in a viny¡sa or ¡sana for a specified time, doing longsmooth inhalations and exhalations. These viny¡sas are especially good for women,since they work on the pelvic muscles and are useful against certain cases of men-strual disorder and dysmenorrhea. They also improve the tone of the pelvic musclesthat are used during labor and help reduce postnatal complications such as prolapseof the uterus. The m¶la bandha, udd•y¡na bandha, and viny¡sas involving utka†¡sanaare contraindicated during pregnancy. Practice of ¡sanas should be avoided duringmenstruation; that is the tradition. There are cases in which some of the moreinvolved ¡sanas (such as utka†¡sana and the lower bandhas) could lead to menorrha-gia. Simple and long inhalations and exhalations are good during menstruation.

For all aspiring yogis, the morning, either at or before sunrise, is ideally suitedfor practice. Abhy¡sa in the evening, however, is better than skipping the practicefor the day. One should not practice until three hours after a solid meal and at leasta half hour after the intake of fluids.

More-Difficult Viny¡sas in T¡∂¡sana©

The above group of viny¡sas is fairly comprehensive, though there are many more-dif-ficult ones that are not included. Some viny¡sas require changing the position of one legwhile keeping the other leg firmly planted on the floor. These ekap¡d¡sanas (one-


legged ¡sanas) are usually associated with severe tapas, or penance, and some arenamed after sages who are believed to have attained various siddhis in these positions,which require an excellent sense of balance and an enormous capacity for endurance.

The simplest of these viny¡sas requires starting again from samasthiti. Keepingyour head down and back straight, inhale, bend your right knee, raise your leg, and holdthe big toe of your right leg with the fingers of your right hand, keeping your left handon your hip. Inhale and stretch your right leg straight out, holding your big toe. Inhaleand, holding your right big toe in position, rotate or swing your right leg to the right side,maintaining balance. This posture is called ekap¡d¡©guß†¡sana; with the leg to the side,it is p¡rßva-ekap¡d¡©guß†¡sana; squatting, it is called utkata-ekap¡d¡©guß†¡sana.There is still another variation. Exhale and bring your leg to the starting position in frontof you. Then lean forward slightly and, while inhaling, hold your right foot with yourright hand and then with bothhands, and inhale. During thenext exhalation, bend forwardand touch your right knee withyour forehead without changingthe position of your leg or bend-ing either of your knees. Inhale,raise your trunk, and lower yourright leg. You may repeat thisviny¡sa on the other side as well.

The next viny¡sa will requireyou to bend your right knee andplace it on the top of your leftthigh, with the heel touching orclose to the left groin. This is thehalf-lotus position, and themovement is done on the exhala-tion. Inhale, raise both arms overhead, interlock yourfingers, and turn your hands outward. On the nextexhalation, keeping your left arm overhead, bringyour right arm around your back and hold the big toeof your right leg with the fingers of your right hand.During the next exhalation, you may lower your lefthand as well and place it on top of your right hand.You may try to stay in this position for a while, watch-ing your balance and doing normal inhalation andexhalation. Your head should be kept down, since thiswill better facilitate maintaining your balance. This


Ekap¡d¡©guß†¡sana P¡r≈va-ekap¡d¡©guß†¡sana

Utka†a-ekap¡d¡©guß†¡sana

position is called vƒkß¡sana, ortree posture. This ¡sana can beconstrued as an extension oft¡∂¡sana in which the p¡da-viny¡sa, or variation in the posi-tion of the leg, is attempted. Itcan be also considered a balanc-ing posture. Switching legs, holdyour left big toe with your righthand and raise your left armoverhead as you inhale. Exhal-ing, balancing on the right leg,slowly bend forward and hold thebig toe of your right foot withyour left hand and try to touchyour knee with your forehead. Itis very difficult to maintain bal-

ance, but with practice staying in the posture for a length of time, balance will improve.Inhale, raise your trunk, and keep your left arm overhead. As a counterposture, whileholding your right big toe with your right hand from behind, slowly inhale and try to sitas if on your haunches, without raising your left heel off the floor. This is calledutka†avƒkß¡sana. The difficult part of the movement is when you are halfway throughthe trip down. Inhale, come up to vƒkßas¡na, and on next inhalation raise both your armsoverhead and lower your bent right leg. Return to samasthiti as you exhale and lower


Utt¡navƒkß¡sana Utka†avƒkß¡sana

Bhag•rat¡sana Bhag•rat¡sana (with chin lock)

Vƒkß¡sana

your arms. Repeat the movementon the other side.

For the next viny¡sa, inhale,bend your right knee, and, withyour right knee pushed laterally,place your right sole high insideyour left thigh with the heelplaced firmly in the left groin.Inhale, raise both arms overhead,and keep your palms together.Try to stay for a few breaths. Thisposture is called bhag•rat¡sana,after the sage Bhag•rata. This¡sana helps to stretch the pelvisand develops a very good senseof balance. In-hale and loweryour right leg. Repeat the movement on the left side.

For another viny¡sa, start once again from samasthiti. As youexhale, bend your right knee and raise your right leg so that yourright knee is close to the chin, your thigh pressing against the chest.Inhale, and on the next exhalation bend forward inside your bentright leg and bring your right arm around your bent right leg. On thenext inhalation, bring your left arm behind your back and hold yourright hand from behind. Your right leg, which is bent and encircledby your right hand, is pressed tightly against the right side of yourtorso. Stay for a few breaths. Here again the utka†¡sana and utt¡-n¡sana movements can be tried. As you exhale, balancing on yourleft leg, slowly bend forward to the farthest extent possible, up totouching your knee with your forehead. Inhale and come back. Dur-ing the next exhalation, try to sit on your haunches, balancing onyour left foot. Your heel should not be allowed to rise. These pos-tures are extremely good for balance and also work on the lowerabdominal muscles and the pelvic organs. Inhale and come back.You may repeat it on the other side as well.

The next viny¡sa is an extension of the previous one. As you inhale in samasthiti,bend your right knee, bring it up, and hold your right foot around the sole. As youexhale the next time, stretch your leg up as high as possible and keep it straight up,holding it with both hands. This is a very difficult posture. Stay in the posture for afew breaths. Inhale, bend your knee, lower your leg and bring it down, and keep yourarms by your sides in samasthiti. This posture is called trivikram¡sana, named after


Ekap¡d¡sana (viny¡sa) Utt¡na-ekap¡d¡sana

Ekap¡d¡sana (viny¡sa)

an incarnation of Lord Viß∆u. Repeat it on the other side. This posture is supposed tofacilitate arousal of ku∆∂alin• and align the cakras.

All the viny¡sas described so far involve keeping one leg on the floor and mov-ing the other in front or to the side of the body. There are others in which one leg isbrought behind the body and held in different positions. There are two important¡sanas in which a leg is taken behind while balancing on the other leg. In t¡∂¡sana,exhale, slightly bend your right knee, take your right leg around your back, and placeyour right foot behind your neck. This is called d¶rv¡s¡sana after a ƒßi namedDurv¡s¡. Exhaling, you may bend forward and touch the floor with your hands. Thisis an extremely difficult posture.

The next ¡sana is na†ar¡j¡sana, named after the dancing Lord ˛iva. Stand int¡∂¡sana and stretch your right arm in front of your body as you inhale. On the nextinhale, bend your left knee, hold your big toe with your right hand, and push the legup as high as possible, touching the back of the head. You may repeat na†ar¡j¡sanaon the other side.

It is now time to talk about resting. When one feels the need to take a break from¡sana practice, one can lie down and slowly allow all the joints to relax. All the jointsshould be kept loose. Start at the toes, then turn your attention to the ankles, then thecalf muscles, and let go. Then move on to the knees, the hamstrings, the huge thighmuscles, the hips, and pelvis, and then on to the entire backbone and neck. Then turnyour attention to the shoulders, the elbows, wrists, and knuckles, each side separately.Allow all the joints to relax, as well as the muscles. This is called ≈av¡sana, or corpseposture. Don’t allow your mind to wander or go to sleep. Turn your attention to thebreath. Watch it as it becomes shallower and smoother, until your breath is normal andyou feel refreshed. Rest for a brief period, then proceed with further yoga practice.

The standing postures with the feet kept together are comparatively strenuous. It istherefore necessary that those with heart ailments use discretion in doing such postures,especially the difficult viny¡sas. These postures are, however, particularly beneficial toteenagers and young men and women, since they help to develop the skeletal muscles,tendons, and joints, and thereby improve the overall blood circulation. Since these pos-tures are done with corresponding modulated deep breathing, respiration and circulationalso improve, and these are necessary for achieving and maintaining good health.

Triko∆¡sana©

Another group of ¡sanas and viny¡sas involves postures in which the legs are spreadapart. Those who have difficulty maintaining good balance find doing yogic stand-ing exercises easier with feet spread apart. This sthiti is called triko∆¡sana sthiti, as


the leg position forms a triangle(triko∆a). For some, betterstretching becomes possible inspecific viny¡sas. Start withsamasthiti. Inhale, and raiseyour arms outstretched to thesides up to shoulder level.Exhale, jump, and spread yourlegs three to three and a halffeet. Take a few normal breathsand get a “feel” for the posture.Now exhale, turn your head andneck to the left side so that youare looking over your left shoul-der, and, bending at the hip,lower your trunk to the rightside, keeping your right palm by the side of your right foot. Your feet should bepointing forward and not be turned to the right side. Those who cannot bend all theway down may hold the right leg a little higher. After some practice, many may beable to bend so low as to press their palm on the floor, by the side of the foot. Youshould not feel tight in the neck or flushing in the face, which indicates that you arestraining. With longer and finer exhalation, or the capacity for good recaka, it willbecome easier to do this posture. You may stay in the posture, called utthita-triko∆¡sana, for a few breaths and then inhale, rising back to the starting position,which is called triko∆¡sana sthiti. Now repeat it on the other sideas well. Keep your knees and elbows straight in this posture.

In this ¡sana, back, hips, arms, neck, and the soles of the feetare flooded with blood. If practiced consistently, one’s physicalcondition will improve, and rheumatic pain in the hips, back,knees, and elbows will gradually decrease. This is one of the bestpostures for obese people to reduce fat in the arms, back, waist,and lower abdomen and back regions. Those who are unsteadywhile standing erect may do the posture while lying down, keep-ing the back of the neck, back, buttocks, and back of the heelsfirmly on the floor. After a few days, one may start doing the prac-tice while standing in triko∆¡sana.

The next viny¡sa in this group requires twisting of the trunk.Stay in triko∆¡sana sthiti. Raise your arms sideways and keepthem at shoulder level. With feet facing forward, inhale, slowlyturn your upper body to the left side, place your right palm by the


Samasthiti Triko∆¡sana sthiti

Utthitatriko∆¡sana

side of your leftfoot, and look up.Your arms shouldbe in a straight line.Stay in the posturefor a few breaths,and as you inhalecome back to tri-ko∆¡sana sthiti. Thisposture is calledparivƒtta (twist) tri-ko∆¡sana. There is

a more refined method of doing this posture in three viny¡sas. Fromtriko∆¡sana, with arms outstretched at shoulder level, exhale andturn to the left side. Then inhale. On the next exhalation, bend for-ward, keeping your trunk horizontal. Inhale, and during the next

exhalation do the third viny¡sa, which is turning yourtrunk and placing your right palm by the side of yourleft foot and looking up. To return to triko∆¡sanasthiti, first inhale and “unwind,” bringing your bodyup and parallel to the floor. Exhale, and in the nextinhalation raise your trunk, still turned to the left side,and as you inhale again, turn and face front and entertriko∆¡sana sthiti. In this way, the stretching and theefficacy of the posture are enhanced, and the chancesof injury (if you do the whole movement in one go)are also reduced. People with lower-back pain, backstrain, or a suspected slipped disk will do well not toattempt this involved posture. This is a very gracefulbut powerful posture. Now you may repeat it on theother side.

In the next ¡sana in this sequence, one knee isbent so that the lateral movement of the hip joint isenhanced. Again, start from samasthiti and proceed tothe triko∆¡sana sthiti on exhalation. On the next exha-lation, turn your right side at a ninety-degree angle toyour straight left foot. Looking forward, push yourtrunk to the right side and slowly lower it as you bendand thrust out your right knee, of course while exhal-ing. As you complete the exhalation, place your right


Parivƒtta triko∆¡sana(stage 1)

Parivƒtta triko∆¡sana(stage 2)

Parivƒtta triko∆¡sana

Parivƒtta triko∆¡sana (rear view)

palm by the side of your right foot. Your leftarm also gradually swings overhead so that itis parallel to the floor, and you will be look-ing straight ahead, even as you bend to theside. Stay for a few breaths. This posture iscalled utthitap¡r≈vako∆¡sana. You have tobe careful while lowering your trunk, as youwill be looking straight ahead and not at thefloor on the side in which you are moving.This posture helps to stretch the hips and thewaist, and the groin muscles are also tonedup. Constipation and certain types of dys-menorrhea respond well to this posture. This is also a very good practice for athletes,especially those for whom lateral movement is important. Regular practice withappropriate breathing will help reduce chances of sports injuries. Additional


Utthitap¡r≈vako∆¡sana Utthitap¡r≈vako∆¡sana (viny¡sa)

Utthitap¡r≈vako∆¡sana(balancing)

Utthitap¡r≈vako∆¡sana(return)

P¡r≈vako∆¡sana(stage 1)

viny¡sas here include raising the right hand on inhalation and closing it with the leftpalm; one may feel this stretch in the thigh and groin. Keeping the right palm by theside of the right foot and leaning on the right side, slowly raise your left leg in thesame plane as the body. Stay for a few breaths. The brave ones may now raise theright arm as well, and on the inhale, close both palms overhead. This is a balancingviny¡sa of utthitap¡r≈vako∆¡sana. With the right knee bent, it gives a tremendousstretch to the thighs and the groin. You have to be careful about the bent knee, andyou should find the exact point at which you can stay balanced without straining theknee. Inhale, lower the leg, and place the right hand by the side of the right foot. Asyou inhale the next time, slide back to triko∆¡sana sthiti, raising your trunk from theright side. Repeat the ¡sana and the viny¡sas on the other side.

In the last viny¡sa, the triko∆¡sana sthiti, there was no turning of the trunk(except the parivƒtta), and the upper body moved from side to side. One can do the

next group of ¡sanas in the sametriko∆¡sana by turning to eitherside and doing different ¡sanasand viny¡sas. As you inhale,turn the left foot outward ninetydegrees, keeping the right footpointed forward. Inhale, raiseboth arms overhead, and inter-lock the fingers. Exhale and turnto the left side. Breathe nor-mally a couple of times and thenwhile exhaling, press the feetand, keeping the knees straight,stretch the back and also theneck and bend forward until the


Utthitap¡r≈vako∆¡sanaUtthitap¡r≈vako∆¡sana(stage 2)

V•rabhadr¡sana(step 1)

V•rabhadr¡sana (start)

forehead touches the left knee. Stay in this posture for a few breaths, and whileinhaling return to triko∆¡sana sthiti. This is called p¡r≈va-utt¡n¡sana (dakßi∆a) andthe right side of the body is stretched. The same movement can be repeated, whichis known as vamap¡r≈va-utt¡n¡sana. In this posture, the hip and the pelvic joints aretwisted or rotated. The knees and the ankles experience an angular stretching, andthis posture, therefore, helps in improving the flexibility of these joints. It can bepracticed by all. There are a few different hasta viny¡sas (positions of the arms). Youcan keep the palms halfway between the extended legs. Thereafter, pressing boththe palms and the front leg to the floor and keeping the forehead on the knee, theback leg can be lifted up (and stretched) as high as possible, balancing on one legand the palms. Exhaling, return to p¡r≈va-utt¡n¡sana sthiti. The forward movementcan be done keeping the arms stretched wide at the level of the shoulders, or keep-ing the palms together behind the back in pƒß†¡ñjali.

The next ¡sana on this side in triko∆¡sana is called v•rabhadr¡sana, named aftera warrior-devotee of Lord ˛iva. This is a viny¡sa of p¡r≈va-utt¡n¡sana. Fromtriko∆¡sana sthiti, exhale and turn your right foot outward. Stretch your left leg,keeping your left knee straight, and bend your right knee, pushing it forward andlowering your body. Now inhale deeply and stretch your upper body, keeping yourarms overhead with fingers interlocked and turned outward. Stay for a few breaths.This posture is v•rabhadr¡sana. Now inhale, bend forward, and touch your bent rightknee with your forehead and place your palms by the sides of your right leg. Stay fora few breaths. Then as you inhale, raise your left leg and keep it horizontal, and raiseyour upper body to horizontal, keeping your arms stretched overhead. This is anothervariation of v•rabhadr¡sana in which the right knee is still kept bent. In another vari-ation, straighten the right knee and keep the right leg straight (on inhalation), and theupper body and the left leg will be in one line horizontally. Exhale and lower yourarms and left leg. Inhale to return to triko∆¡sana sthiti. Repeat this set of viny¡sas onthe other side as well. It could be observed that this aggressive posture requires


V•rabhadr¡sana V•rabhadr¡sana (viny¡sa)

further stretching of the thighs and calf muscles, and the turn in the hip joint is furtheraccentuated. Athletes and sportsmen who require agility may benefit by this group of¡sanas. This is not to say that yoga encourages sports. On the contrary, it is the con-tention of yogis that games, since they waste energy, are a hindrance to the realizationof the higher benefits of yoga. Sports are considered a©gabh¡nga s¡dhana (injurious toone or another part of the body), whereas yoga is sarva©ga s¡dhana, or the system thatis beneficial to all parts of the body, including the internal organs. But, then, those whocare only for sports activities may still benefit from these ¡sanas with viny¡sas.

From triko∆¡sana sthiti, if you spread your legs so your feet are about five feetapart, this is known as pras¡ritap¡da-utt¡n¡sana sthiti. Keeping your knees straight,inhale and bend forward as far as possible, pushing the hips back. Inhale, raising upyour trunk. Now raise your arms overhead, keeping your palms facing front, thenexhale, bend forward, and hold your toes with the fingers of the corresponding hands.Inhale, straighten your back, and look up, arching your back a little. Return to thestanding position with arms overhead. Exhale, bend forward, and, keeping yourpalms between and in line with your feet, push your hips, press your palms, loweryour trunk, and touch the floor between your palms with the top of your head. Thisposture is known as pras¡ritap¡d¡sana. Inhale and return to the starting position.After the pras¡ritap¡da sthiti, one may spread the legs farther on inhalation and siton the floor with the legs spread on either side of the body, which is calledsamako∆¡sana. This is a very difficult posture, but youngsters with supple hip joints,good muscle tone, and groin flexibility will be able to do it.

We have broadly covered the ¡sanas and viny¡sas that can be done while stand-ing. These ¡sanas are basically done with the feet together, or samasthiti, or with abroad base, like triko∆a and pras¡ritap¡da sthitis. Each group has its own benefits.People with vertigo, abnormal blood pressure, or heart ailments should not attemptthese standing ¡sanas and viny¡sas requiring bending of the body. Youngsters willfind that the t¡∂¡sana group improves poise and sense of balance and will help themcarry themselves well and also have a better sensitivity and awareness of their ownbodies. The triko∆¡sana and others that provide a broader base between the feet willgive strength and help improve circulation and one’s sense of well-being. It is timeto lie down and take rest in ≈av¡sana.

Transition Postures©

It has been noted that all ¡sanas in this viny¡sakrama start with samasthiti and endwith it. But we also need some intermediate or transition postures to reach other pos-tures, whether in sitting, supine, or prone position.


Catura©gada∆∂¡sana is animportant intermediate posture.It also forms the centerpiece inthe well-known sun salute ors¶ryanamask¡ra. Catur means“four,” a©ga is “limb,” andda∆∂a is “stick,” making this a“four-legged stick posture.” It isdone by following the viny¡sasequence. First, stand in samas-thiti, with arms overhead.Exhaling, proceed to ardha-utt¡n¡sana and utt¡n¡sana, inthat order, and place your palmsby the sides of your feet as men-tioned earlier. Then press yourpalms, inhale, raise your head,and, while exhaling, proceed toutka†¡sana, but without raisingyour arms. Do a few inhalationsand exhalations in that posture.Then, holding the breath afterthe exhalation, press your palmsslightly and lift your feet off thefloor. Then gently jump backand land on the tips of your bigtoes, dropping your body hori-zontally like a stick, so that thebody rests about four inchesabove the floor and parallel toit. In this position only yourpalms and big toes rest on thefloor, and your entire body isabove it. It is said that the body should be truly horizontal. You may stay in the pos-ture for a few breaths. In the initial stages, your hands and legs are likely to trem-ble, but in due course you will overcome this deficiency. For a number of people, itmay not be possible to jump back as mentioned, out of fear of falling down on one’sface, or from sheer weakness of the limbs. It is all the more so with obese people—some of whom may have difficulty in keeping their belly from touching the floorand keeping their back straight. For beginners, therefore, rather than jumping up, it


S¶ryanamask¡ra, step 2

Samasthiti s¶ryanamask¡ra, steps 1 and 12

Utka†¡sana s¶ryanamask¡ra, step 4

Utt¡n¡sana s¶ryanamask¡ra, step 3

may be better to proceed from utka†¡sana step by step. First, just raise your heelsand then stretch one leg back and then the other as you inhale. This is a good pos-ture to strengthen the forearms and shoulders and improve their tone.


Catura©gada∆∂¡sana s¶ryanamask¡ra, step 5

S¶ryanamask¡ra, step 4 to step 5

Catura©gada∆∂¡sana s¶ryanamask¡ra, transition between steps 6 and 7

Da∆∂a samarpa∆am s¶ryanamask¡ra, step 6

Adhovamukha≈v¡n¡sana s¶ryanamask¡ra, steps 7 and 9

‡rdhvamukha≈v¡n¡sana s¶ryanamask¡ra, step 8

The next ¡sana viny¡sa inthis sequence is ¶rdhvamukha≈-v¡n¡sana, or upward-facing dogposture. This ¡sana gets itsname because it resembles adog stretching up on its fourlegs. First assume catura©ga-da∆∂¡sana. Stretch your anklesand rest on the tips of your toes.Then, inhaling, press yourpalms, stretch your upper body,and raise it up, but keeping yourlegs (and thighs) parallel to thefloor. This can be achieved bystretching your feet, legs,thighs, and knees and by push-ing your pelvis forward so that your navel is in line with your hands. The recom-mended dƒß†i (gazing) is at the tip of the nose. Stay in the posture for a few breaths.This helps to correct the postural defect of desk workers (and computer addicts) whotend to crouch. Exhaling, you may return to catura©gada∆∂¡sana.

A countermovement in this sequence will be to perform adhomukha≈v¡n¡sana,or downward-facing dog posture. Proceed from caturangada∆∂¡sana, which positionyou have reached after doing ¶rdhvamukha≈v¡n¡sana. While pressing your palmsand exhaling, push your hips back and up as far as possible. In the final posture, yourfeet (including your heels) are fully on the floor. Then breathe normally a few times.It is easier in this posture to work on the lower abdomen and stomach. After exhal-ing, draw in your rectum and also your lower abdomen (m¶la and udd•y¡na bandhas)and hold for a few seconds. This may be repeated after every exhalation. Also,stretch the back of your neck and lock your chin against the breastbone (j¡landharabandha). This is a very good posture to help relieve flatulence and help digestion.The two ≈v¡n¡sanas act as counterposes to each other. You may do a few cycles ofthis three-¡sana sequence, or stay in each posture one after the other for a fewbreaths. From adhomukha≈v¡n¡sana, you may return to t¡∂¡sana by retracing thesteps. From adhomukha≈v¡n¡sana, you may press your palms and, after exhalingand holding your breath, slightly raise your heels and jump forward (with palms stillon the floor) and land your feet between your palms. This posture, as you know, isutka†¡sana. Do a few normal breaths and, keeping your forehead on the knees,inhale, press your palms and feet, raise your hips, and come to utt¡n¡sana. Thenafter a few breaths, inhale, raise your arms, and straighten your body to come tot¡∂¡sana. Then, lower your arms upon exhalation and reach samasthiti. For those


Utt¡n¡sana s¶ryanamask¡ra, step 11

Utka†¡sana s¶ryanamask¡ra, step 10

who are unable to come to utka†¡sana from adhomukha≈v¡n¡sana by jumping for-ward, the easier method of returning by bringing in one foot after the other may bebetter. And again, if it is not possible to go to utt¡n¡sana from utka†¡sana, you mayraise your arms in utka†¡sana and then return to t¡∂¡sana sthiti. You may haveobserved dogs doing beautiful stretching exercises. One should relax with the helpof long deliberate exhalation (recaka) to do these postures.

S¶ryanamask¡ra©

As mentioned earlier, the sun salute, or s¶ryanamask¡ra, is a very popular anddynamic group or sequence of exercises. Actually the dog postures are importantviny¡sas in s¶ryanamask¡ra. The following table outlines the viny¡sas and mantrasused in the sequence of the s¶ryanamask¡ra. The sixth viny¡sa is the actualnamask¡ra, in which one lies down prone (prostrate) with the arms stretched over-head in total surrender to the deity, here the sun, considered a visible aspect of God.The twelve viny¡sas can be done with mantras also. Thus, as one completes theappropriate aspect of the breath, the mantra is mentally chanted and then the nextviny¡sa is done and the appropriate mantras used. The mantras used are b•j¡kßara,Vedic, and laukika mantras. It is also a custom to chant all three mantras one afterthe other. Again, those who are unable to do the whole viny¡sakrama of thes¶ryanamask¡ra can merely chant the mantras and prostrate themselves in thedirection of the sun in the east. Those who do the aruna chanting or Vedic prayer ofSurya (mentioned in the chapter on mantrayoga) would do the viny¡sakramas¶ryanamask¡ra at the end of each of the thirty-two anuv¡kas, spread over an hourof chanting of the s¶ryanamask¡ra chapter. Here are the viny¡sas and their associ-ated mantras.

VViinnyy¡¡ssaa BB••jj¡¡kkssaarraa VVeeddiicc mmaannttrraa NNaammaasskk¡¡rraa mmaannttrraa mmaannttrraa

1. Samasthiti with Om hr¡m udyannadya mitr¡ya nama˙folded hands mitramaha˙

2. Inhale, bend back, Om hr•m arohannutt¡r¡ ravaye nama˙arms overhead am divam

3. Exhale, utt¡n¡sana Om hr¶m hrudrogam s¶ry¡ya nama˙mama s¶rya

4. Inhale, exhale, Om hraim harima∆anca bh¡nave nama˙utka†¡sana n¡≈aya

5. Inhale, hold breath, Om hraum sukesu me khag¡ya nama˙c¡tura©gada∆∂¡sana hari≥anam


6. Da∆∂a samarpa∆am Om hra˙ ropa∆¡k¡≈u p¶ß∆e nama˙(prostrating before sun) dhadhmasi

7. Exhale, Om hr¡m atho hiranyagaradhomukha≈v¡n¡sana haridraveßume bh¡ya nama˙

8. Exhale, inhale Om hr•m harimananni mar•caye nama˙urdhvamukha≈v¡n¡sana dhadhma≈i

9. Exhale, Om hr¶m udag¡dayam ¡dity¡ya nama˙adhomukha≈v¡n¡sana ¡ditya˙

10. Inhale, exhale, Om hraim vi≈vena sahasa savitre nama˙utka†¡sana saha

11. Inhale, utt¡n¡sana Om hraum dvißantam mama ark¡ya nama˙randhayan

12. Exhale, inhale, Om hra˙ no aham dvißato bh¡skar¡yasamasthiti ratam nama˙

%

OM ˛¡nti˙ ˛¡nti˙ ˛¡nti˙


8Supine Postures

Bandhas and Breathing©

Before discussing the supine postures, it may be good to introduce the bandhas, orlocks. In chapter 7 some important standing postures and their variations, counter-poses, and accompanying breathing patterns were described, along with some of thebenefits that accrue from their practice. If one practices them regularly at a fixedtime each day, one’s body should become lighter (laghu) and one’s circulation, res-piration, and digestion should improve, leading to better health and a positive senseof well-being. One’s breathing should also become longer, smoother, and morevital, thereby giving one a sense of calm. It is the uniqueness of the system of my¡c¡rya, based on the ≈¡stras that he inherited, that one is imperceptibly led to con-trol of the breath, or pr¡∆¡y¡ma, even while doing the ¡sanas. Synchronous andlong breathing also helps relax the muscles and joints and helps one attain a pos-ture smoothly and with less effort. Regular practice results in both more tranquil-lity—and paradoxically—improved stamina, as revealed in one’s capacity to do thepostures more deliberately and with slow stretching, and in one’s ability to stay inthe final posture longer and for a greater number of breaths.

The four aspects of yogic breathing were also discussed in chapter 7. To repeat,the first is recaka, or long and smooth exhalation. The second is p¶raka, or longinhalation. It is, however, possible to hold in the breath after inhalation, which isknown as internal holding, or anta˙-kumbhaka, and is the third aspect. Holding thebreath out during the time interval between the completion of exhalation (recaka)and the beginning of inhalation (p¶raka) is b¡hya-kumbhaka, the fourth aspect.

Readers may recall mention in chapter 7 of the bandhas, or the contraction of certaingroups of muscles. It is now time to introduce the use of bandhas in the practice of¡sanas. There are three important bandhas. The first is j¡landhara bandha, or lock-ing the chin against the breastbone. This may be done during both kumbhakas andwhenever the postures require the chin to be locked, which is normally the case dur-ing forward bends and when keeping the back erect. In back bends and twisting pos-tures it is not possible to do j¡landhara bandha. The other two bandhas, however,should be practiced in most of the ¡sanas, especially after exhalation. The first ism¶la bandha, which means “constriction of the anus.” It is done after a completeexhalation. After the exhalation is over, the abhy¡s• should anchor the body in the¡sana he or she is in and then slowly and deliberately close the anus and draw in therectum by contracting the perineal and surrounding muscles of the pelvic floor. Thenas if in a continuous movement, the abdomen, including the navel, is drawn in, push-ing up the diaphragm into the now almost empty chest cavity, which is then calledudd•y¡na bandha (drawing in of diaphragm). The two bandhas, udd•y¡na bandhaand m¶la bandha, make use of both the pelvic diaphragm and the diaphragm, whichseparates the chest from the stomach. This technique is one of the specialties ofyogic breathing. It is not possible to do the bandhas initially without practice of longinhalation and exhalation, so that the strength of one’s pr¡∆a is first enhanced. If onehas practiced the standing postures mentioned in chapter 7 in tandem with the cor-rect breathing patterns as well as with dietary restrictions (tapas), and one hasreduced one’s waistline to its healthy level, then the bandhas can be attempted.

The one standing posture in which all three bandhas can be effectively practicedis utka†¡sana, and its variation, ardha-utka†¡sana. After regular practice of thedynamic movements in the standing postures, one should attempt to stay inutka†¡sana or ardha-utka†¡sana for a few breaths, say, three to six complete cycles.In the initial stages one may barely be able to accomplish the posture. When one isable to stay in the posture comfortably for three to six breaths, then one shouldslowly increase the time to complete a stipulated number of breaths. Thereafter,one should remain in the posture for a predetermined number of breaths chosen bythe practitioner or teacher, or for a fixed period, say three to five minutes. Thenone’s practice should be aimed at reducing the number of breaths while remainingin the posture for the same duration. For instance, one may take a total of twentybreaths while in the posture. Later on, it may be possible to remain in the posturesteadily and comfortably (sthira and sukha) for five minutes with perhaps only tenbreaths. This is one method of attaining ¡sana siddhi (perfection in posture) that onecan test for oneself. Having achieved this level of comfort in the posture, one canthen introduce the bandhas, which will increase the time taken for each breath. Itobviously requires not only stamina, or pr¡∆¡y¡ma bala, to hold the breath for theduration of the bandha but also a healthy stomach, digestive system, and pelvic

Supine Postures 127 D

organs. No bandha is possible with an ulcer, constipation, colic pain, prostatitis, uri-nary tract infection, dysmenorrhea, obesity, or weakness arising out of indiscrimi-nate sexual activity. It should be noted here that the bandhas, in many places, areoften taught after one learns pr¡∆¡y¡ma. But in the system of my guru, based on aproper interpretation of the Yogas¶tras, because breath practice is introduced early,the bandhas can be introduced while practicing ¡sanas with several viny¡sas.Because the bandhas help to exercise and stimulate the internal organs, they pro-vide great benefits, especially in the therapeutic application of yoga.

Ta†¡kamudr¡©

The next group of ¡sanas are those done lying down with face upward, the supt¡sanas.First is ta†¡kamudr¡ (pond gesture), which makes effective use of the bandhas. Startwith samasthiti. Inhale, raise your arms overhead, and interlock your fingers. Exhale,do utka†¡sana. Do a few breaths with or without the bandhas. Exhale, keeping yourpalms a few inches behind your back. Now sit down. Inhale, stretch your legs forwardtogether, raise your arms overhead, and lie on your back. Exhaling, lower your armsalong the sides of your body and place your palms flat on the floor. This is the start-ing position for all supine postures. One may start straightaway lying down, but theadvantage of starting from samasthiti is that one can limber up a bit, and also be surethat the body is straight by making use of one’s sense of balance. In addition, this isthe traditional method. The lying posture is called ≈av¡sana by some authorities. Now,keep your feet, ankles, and knees close. Stretch your thigh and calf muscles. Pressyour heels, buttocks, palms, shoulders, and neck to the floor and stretch your spinewhile inhaling, so that your entire back tends to be flat on the floor. By doing this itmay be possible to stretch your neck and do j¡landhara bandha, but it is preferable to

C 128 Supine Postures

Ta†¡kamudr¡ Ta†¡kamudr¡ (viny¡sa)

use a small pillow to raise the head and lock the chin. Do a few deepbreaths.

After a deep and complete exhalation, and while pressing yourheels, knees, buttocks, palms, shoulders, and neck and stretchingother body muscles, do m¶la bandha and udd•y¡na bandha, so thatyour entire abdominal portion is drawn in completely, making itscaphoid. It should resemble a small, beautiful pond formed by thepelvic bones and the lower ribs. Stay with the bandha for at leasta few seconds. This is ta†¡kamudr¡. Now relax the drawn musclesand then inhale. Repeat for about six breaths. Inhale, raise yourarms overhead, exhale, and do ta†¡kamudr¡ six more times. Themudr¡ can be done easily for some if they keep their legs bent andfeet on the ground, close to the buttocks. Obviously it is not possi-ble to do the bandhas without adequate preparation of the bodythrough modulated breathing in ¡sanas, as has been explainedalready. A person suffering from acute abdominaldiseases will not be able to do the bandhas at all andthus derive benefit; they are more a preventiveexercise than a curative one. But with ¡sanas,breathing, a proper diet, and a few other yamaniya-mas, a patient could become fit enough to start thepractice of the bandhas and then begin to deriveimmense benefits. It may be noted that those withconditions such as the early stages of hemorrhoids,prostatitis, prolapse—both rectal and vaginal—incontinence, constipation, indigestion, and so onwould respond well to ta†¡kamudr¡. Some yogatherapists claim that this ¡sana activates the liverand pancreas, so some diabetics could also benefit.There are yogis who claim that they can draw the diaphragm in so much as to mas-sage the heart. Since its effects on the sex organs are clearly felt, people who prac-tice from early in life will maintain their youth for a longer period—or so it is said.Ta†¡kamudr¡ is also helpful after childbirth, if it has been practiced from early inone’s life. Pregnant women may practice m¶la bandha, but not udd•y¡na bandha.

From the lying-down position (as for ta†¡kamudr¡), inhale and raise your armsto shoulder level. Inhale, raise your head slightly, and turn your head to the left side.Exhale and, while pressing your palms and shoulders and pivoting your lower back,take your right leg away from your left at a thirty- to forty-five-degree angle. Onthe next exhalation take your left leg and, while stretching it, move it beside theright leg, so that both feet are together. Take six to twelve long breaths, doing the


Ja†haraparivƒtti (preparation)

Ap¡n¡sana

m¶la and udd•y¡na bandhas, if possible. Your upper body should be straight. Youshould feel the stretching all along your ribs, hips, and left leg. The stomach mus-cles on the left side are also stretched. This is called ja†haraparivƒtti, or abdominalstretching posture. When done with the bandhas, this pose is extremely effective inreducing the waistline, especially on the sides, increasing the appetite, and gener-ally helping the digestive system. It is useful in correcting stiffness in the lowerback, as the sacroiliac joint is made supple. It enhances the effects of t¡∂¡sana, inthis case laterally. This is the first twisting of the spine. After the required numberof breaths, inhale and return to the starting position. Breathe normally a few timesand do the posture on the other side.

Dvip¡da P•†ham©

Many yog¡sanas aim at maintaining the suppleness of the spine. It is said that aman is as old as the condition of his spine. The desk pose, or dvip¡da p•†ham, is asimple, effective ¡sana that works on the backbone. Proceed from samasthiti andreach the supt¡sana sthiti, or supine position. Further viny¡sas will follow. Lie onyour back on a soft carpet. In the initial stages you may want to support your neckand head with small soft pillow. Exhale and place your arms alongside your body.Keep your knees, ankles, and feet together and slowly stretch them. Exhale, bendyour legs at the knees, and draw up and place your feet close to your buttocks. Doa few modulated breaths. Now hold your ankles with your palms, only if possible;otherwise, keep your palms on the floor. Inhale, press the back of your head, yourneck, your hands, and your feet; then raise your trunk slowly as high as you can,arching and stretching your spine, neck, shoulders, and arms in the process. Stay fortwo seconds. Exhale, lowering the body. Repeat three times. This is dvip¡dap•†ham, or desk pose. As for the variations, inhale and stretch the right leg while


Ja†haraparivƒtti Dvip¡da p•†ham

keeping the left leg bent, as in the previous position. Inhale againand arch the back and raise the hip while pressing the left foot.Stay for two seconds. Exhale and return to the starting position.Inhale, press the back of the neck and left foot, and raise the rightleg as high as you can, stretching especially the neck and the righthip joint. Stay for two seconds. Exhale and return to the startingposition. Exhale, bend your right leg at the knee, and place yourright foot at the root of your left thigh in the half-lotus position.Inhale and raise the trunk and your bent right leg. Stay for two sec-onds. Exhale and return to the starting position. Repeat the samemovements with the right leg bent. Stretch both legs on inhalationand return to the starting point, which is the lying-down position.Now inhale, press the back of your neck and your heels, and archyour body between the neck and heels. You may stretch yourankles so that your feet are flat on the floor. This is known mad-hyasetu, or bridge pose. Stay for a few seconds,exhale, and return to the starting position. Older andobese people should perform the trunk-raisingmovement on exhalation and the return movementon inhalation. This is langhana kriy¡.

The desk pose is a convenient exercise for arch-ing and hence strengthening the spine. Since the feetand neck are anchored, this posture is easier forbeginners when compared with many other back-arching ¡sanas. It helps relieve the pain of a stiffneck, which is common enough among machineoperators, drivers, typists, and so on. It is also usefulto relieve lower-back pain, especially that experi-enced by pregnant women. They should, however,do only the first two viny¡sas, and then only after getting clearance from theirobstetricians. Because the feet, neck, and head are anchored, the back stretch canbe controlled and done to the greatest extent possible without straining.

Other Supt¡sana Variations©

The following group of ¡sanas, viny¡sas that resemble the letters L, U, and V, requirelower-back strength and bring into play, as well as tone, the lower stomach muscles.These ¡sanas, in which the arms and legs are stretched out and up, are known as


Dvip¡da p•†ham (viny¡sa)

Madhysetu

urdhvapras¡ritap¡dahast¡sanas. To begin, lie on yourback on a soft carpet. Support your neck and headwith a small soft pillow during the first few weeks ofpractice. Place your arms alongside your body andkeep your knees, ankles, and feet together. Slowlystretch them while taking a few modulated breaths.Inhaling, raise and stretch your right arm overhead.Exhaling, raise your right arm and right leg from thehip as high as you can, the goal being to make aninety-degree angle to the floor. In the beginning, youmay first bend your right knee as if kicking hightoward your face and then straighten it. Stay for a few

seconds. Inhale and return to thestarting position. Now exhaleand raise your right arm and leftleg. Stay for two seconds. Inhal-ing, return to the original posi-tion, stretching your right armand left leg, and feeling thestretch across your body. Exhal-ing, lower your right arm to theside of your body. This posture is¶rdhvapras¡sana. Repeat themovements with your left armraised. Exhale deeply, pressyour palms, and raise both legstogether from the hips as high aspossible, up to ninety degreesfrom the floor. Stay for two sec-

onds. Inhale and lower your legs. This posture resembles the letter L and is known as¶rdhvapras¡ritap¡d¡sana. Inhale and raise both arms overhead. Exhale and raise botharms and both legs so they are perpendicular to the floor. Stay for two seconds. Inhale,stretch both of your arms and legs, and return to the starting position. This resemblesthe letter U and is known as ¶rdhvapras¡ritap¡dahast¡sana. Inhale and raise both yourarms overhead. Exhale, as in the previous viny¡sa, and raise both your arms and legsbut take your legs a bit further and hold your big toes with your thumbs and first twofingers. Inhale and spread your legs so that they resemble the letter V; this is knownas ubhayap¡d¡©guß†h¡sana. These postures will be easier to perform with longer andsmoother exhalations. These exercises are a very good preparatory viny¡sa for doinganother important combination lying-down and inverted posture known as


‡rdhvapras¡sana(preparatory viny¡sa)

‡rdhvapras¡sana

‡rdhvapras¡sana(preparation)

sarv¡©g¡sana. Dvip¡da p•†ham helps to make the hips and lower back more flexible,and other arm- and leg-raising postures prepare the legs for the vipar•takarnan•, orinverted postures.

Another variation may be attempted after one gains familiarity with theviny¡sas in suptap¡d¡©guß†h¡sana. From supt¡sana sthiti, mentioned above, slightlystretch your right leg, bring it forward, and hold your big toe with the fingers of yourright hand. Keep your left hand on your left thigh and do a few modulated breaths.This is suptap¡d¡©guß†h¡sana. Now slowly exhale and, pressing the left side of yourbody, leg, and heel, lower yourright leg, with your arm to theright side, holding your toe allthe while. In the final position,your right leg is stretched onthe floor to the right of the bodyand held by your right hand atabout shoulder level. This issuptap¡r≈vap¡d¡©guß†h¡sana.Repeat the movements on theother side. As mentioned, thisgroup of ¡sanas helps tostrengthen lower abdominalmuscles and effectively checksobesity; tuberculosis and theearly stages of hemorrhoids


Suptap¡r≈vap¡d¡©guß†h¡sana

‡rdhvapras¡ritap¡dahast¡sana(back view)

‡bhayap¡d¡©guß†h¡sana‡rdhvapras¡ritap¡dahast¡sana

Suptap¡d¡∆guß†h¡sana(preparation)

respond well to these exercises. People who spendlong hours standing and tend to develop varicoseveins will also benefit. Girls, if they practice frompuberty, will improve the tone of their pelvic mus-cles.


Suptap¡r≈vap¡d¡©guß†h¡sana

9Sarva-n.ga-sanaand Si-rs.a-sana

˛°R◊⁄SANA AND ITS CLOSE ALLY, sarv¡©g¡sana, hold pride of place amongthe ¡sanas. Yoga teachers, ancient and modern, have much good to say about thesepostures. Even a novice experiences the tonic effects of sarv¡©g¡sana when start-ing to practice it. Medical practitioners and researchers interested in yoga give con-siderable importance to these ¡sanas and have studied their effects on the wholesystem. One should surely include sarv¡©g¡sana in one’s daily practice. It is com-mon knowledge that in the normal erect posture, the main organs of perception—ears and eyes as well as the brain—do not get a copious supply of blood, beinglocated above the heart. And when we breathe in normally, which breathing ispartly diaphragmatic, the vital organs—liver, spleen, kidneys, diaphragm, and soon—get pressed and displaced from their position, albeit to a small extent. Accord-ing to yogic theory, disease results from the displacement of vital internal organsand muscles, and yogic practice aims to return them to their original positions. Theƒßis have sought to remedy this displacement through the practice of inverted pos-tures, of which ≈•rß¡sana and sarv¡©g¡sana are the most important.

Sarv¡©g¡sana and Variations©

Sarv¡©g¡sana is one of the most difficult postures because one has to prepare thebody, especially the neck, before beginning its practice. Dvip¡da p•†ham and

¶rdhvapras¡ritap¡d¡sana are two postures that prepare the body forsarv¡©g¡sana. As its name implies, sarv¡©g¡sana (whole-body pos-ture) tones up all centers, nerves, organs, joints, and muscles. Thetechnique described here is not for absolute beginners. But thosewho have practiced the ¡sanas already discussed, and who haveattained a certain proficiency in staying in postures with the properyogic breathing described earlier, can attempt to do this ¡sana.

Assume the lying-down position following the viny¡sakrama.Lie flat on a soft mat, keeping your legs stretched out and feettogether, and place your arms alongside your body with palms flaton the floor. Exhaling, slowly raise your legs without bending theknees, pressing the palms, back, neck, and head, until the legs arestraight up from your hips. This is ¶rdhvapras¡ritap¡d¡sana. Staythere for a few breaths. Then, exhaling, raise your legs further up,lifting your hips and back from the floor. When your whole trunkis raised and vertical, place your palms behind your back, thereby

supporting your body with your hands. Your chest should be pressed against yourchin, which covers the neck pit between your collarbones, thereby ensuring thatyour body is not tilted to either side. This ¡sana also allows one to do j¡landharabandha. Your body should be straight. After a few breaths, adjust your palms so thatthey are as low as possible, until, say, they are supporting your floating ribs. Yourelbows should not be spread far, and the ideal position is to keep them about thesame distance apart as your shoulders. After a few more breaths, slowly and delib-erately stretch your back, spine, hips, and thigh and calf muscles, as well as your

relaxed knees, ankles, and feet,pointing your toes. Your eyesshould be closed and yourvision directed toward the mid-dle of the eyebrows (bhr¶mad-hya dƒß†i). This is sarv¡©g¡sana.It is better to keep the full sur-face of your palms on your backrather than holding the side ofyour ribs and pressing with yourthumb, which is the normalpractice and tendency. Oneshould attempt to maintain theposture for at least five minutes,which can be achieved gradu-ally, with practice. This is a

C 136 Sarv¡©g¡sana and ˛•rß¡sana

Sarv¡©g¡sana

Sarv¡©g¡sana (proximate hands position)

Sarv¡©g¡sana with bandhas

posture to stay in and fromwhich one can do viny¡sas. Onecan stay in this posture for along time, up to a half hour. Theeffects start building after aboutfive minutes or so. A simpleviny¡sa involves spreadingone’s legs apart while exhaling.This is called ¶rdhvako∆¡sana,or upward triangle pose insarv¡©g¡sana.

One’s breathing should bewith the throat constriction thatproduces a hissing sound. Oneneed not attempt to retain thebreath after inhaling, but it maybe attempted after exhaling.After some weeks of practice,when the posture is steady andone’s waist has been reduced,one may attempt m¶la bandhaand udd•y¡na bandha, the bene-ficial effects of which areenhanced with the help of grav-ity. After staying in the posturefor the required length of time,upon inhalation return to thestarting position without raisingthe head and with a slow rollingmotion. The stretching of eachvertebra feels good as onereturns to the starting point.Sarv¡©g¡sana tones up the sys-tem, and many who start the practice of this ¡sana feel its beneficial effects withina short period of time. One starts feeling light, one’s joints become flexible, andmuscles achieve better all-around tone. Its effects on the thyroid and parathyroidhave been studied, and it is of considerable help in certain cases of hypothyroidism.In this posture, there is good return of venous blood to the heart, and there is a sig-nificant drop is the blood pressure in the legs after five minutes of practice. Theneck and back also get a copious supply of blood.

Sarv¡©g¡sana and ˛•rß¡sana 137 D

Ãkun÷can¡sanaEkap¡da sarv¡©g¡sana

‡rdhvako∆¡sana‡rdhvap¡dm¡sana

Those suffering from respiratory ailments, especially asthma and bronchitis,respond well to sarv¡©g¡sana. A medical doctor has suggested that the posture, ifdone for up to three minutes, seems to act as a bronchodilator, and because of theeffects of gravity, there is better draining of bronchial secretions. The posture alsoprovides great relief to those suffering from sinusitis and bronchial congestion. Thecerebrospinal fluid circulation is increased, and thus there is an all-around toning upof the entire nervous system. Sarv¡©g¡sana keeps the spine supple, and when donewith the viny¡sas, the spine is exercised to the fullest possible extent. As mentionedabove, the thyroid gland is also well massaged and its arterial supply enhanced,which helps to improve its functional capacity, its internal secretions being impor-tant for the proper metabolism and growth of the body. The larynx also gets mas-saged in this posture, and it could be that the asthmagenic area below the glottis isexercised and thus normalized. The sympathetic nervous system and the entirespinal cord are toned up. The blood supply increases to the chest and to the organs.Varicose veins tend to disappear. The posture has a tonic effect on the testes,ovaries, and pelvis by removal of congestion. Gastrointestinal diseases are alsohelped. The liver and spleen are also exercised with gravity and the bandhas. Legmuscles and sluggish knee joints become more supple over the course of time.Sarv¡©g¡sana truly benefits all parts of the body. Some important variations tend toenhance the effects of sarv¡©g¡sana. A few are mentioned below.

After remaining in sarv¡©g¡sana for some time, slowly exhale, and by gentlytaking your legs a little farther, raise both arms and place your hands alongside yourraised legs. This is nir¡lamba sarv¡∆g¡sana. Stay for a few breaths. You shouldgaze at the spot between your eyebrows. Your arms should be stretched, and alsoyour legs. This ¡sana helps to correct indigestion and to reduce one’s waistline.According to our ¡c¡rya, if one practices this late in the evening for fifteen minutes,one will cure insomnia and enjoy restful sleep. People who are on their feet for longperiods—sportsmen and athletes—will find this ¡sana exceedingly soothing. Preg-nant woman may do this ¡sana up to the end of the first trimester. Those who suf-fer from frequent nocturnal emissions would also benefit, since it reduces pelviccongestion in general.

From sarv¡©g¡sana, slowly exhale and place your left foot in your right groinand then your right foot in your left groin. Then extend your crossed legs straightup and stretch your back and pelvic region. Do a few breaths. Repeat, flexing theright knee first. This is called ¶rdhvapadm¡sana, or upward-looking lotus. Pro-ceeding from ¶rdhvapadm¡sana, exhale and bend and lower your crossed legsfrom the hip and then extend them over your head. Slowly release the handsfrom the back and clasp your crossed legs, gripping one wrist with the other hand.This is pi∆∂¡sana, or fetus pose. These two ¡sanas make use of gravity to stretchthe knees and hips in the opposite direction from the normal upright position.


Padm¡sana andthe subsequentbending to pi∆-∂¡sana help workon the spine,back, and stomacheven more. Thebenefits of sar-v¡©g¡sana are en-hanced. Yourbreath may beshort, but in timeit will stabilize.These are fairlyadvanced pos-tures and may beattempted only after one feels steady insarv¡©g¡sana and in nir¡lamba (unsupported)sarv¡©g¡sana. Sarv¡©g¡sana and ≈•rß¡sana are toyoga as head and heart are to an individual. Yes,they improve physical and mental well-being.

Hal¡sana, or plow posture, which is an exten-sion of sarv¡©g¡sana, is also a well-known posture.The procedure is the same as for sarv¡©g¡sana.Thereafter, slowly exhale andlower your legs over your headand place your toes on the floor.Stretch both arms and pressyour palms on the floor. Yourknees and ankles should also bestretched. You may stay for afew breaths. Your inhalationswill be short, but you may prac-tice long exhalation in the pos-ture, and also do the bandhasafter exhaling. After staying fora few breaths, or up to threeminutes, return to the lying-down posture by slowly rollingback, consciously stretching


Pi∆∂¡sana

Ardhapadmahal¡sanaEkap¡da hal¡sana

Hal¡sana

Hal¡sana (nir¡lamba)

every intervertebral ligament, as well as yourthighs, knees, ankles, feet, and toes.

There are a number of viny¡sas possible inhal¡sana. One of them is ardhapadmahal¡sana. Thestarting point is again sarv¡©g¡sana. Exhaling, placeyour left ankle over your right thigh, and then on thenext exhalation, slowly lower your right leg as inhal¡sana, with your left foot pressing against yourthigh and lower abdomen. Stay for a few breaths.Return to the starting point on inhalation, alsostretching your left leg. Repeat on the other side.Keeping the arms overhead and holding the toes and

spreading the legs at an angle overhead are two of the variations. It should be notedthat hal¡sana, because it requires further stretching of the posterior muscles andabdomen, helps the functioning of the pelvic and other internal organs. The neckand shoulders are also stretched considerably. Those who are prone to hypertension

should avoid pressure on the back of the head, whichmay lead to flushing of the face. They may, how-ever, lower their legs, allowing the torso to be a lit-tle away from the chin. The correct position for suchpeople could be achieved by trial and error, and acomfortable, balanced position could thus be main-tained. One should concentrate on fine breathingand, with eyes closed, direct the visual attention tobetween the eyebrows. Sarv¡©g¡sana and hal¡sanashould be followed by counterposes, such asbhuja©g¡sana and ≈alabh¡sana.

Utt¡namay¶r¡sana, or stretched peacock pos-


Kar∆ap•d¡sana

Utt¡namay¶r¡sana (preparation)

Utt¡namay¶r¡sana Utt¡namay¶r¡sana(with j¡landhara bandha)

ture, can be practiced by youngsters. It considerably strengthens the torso, shoul-ders, and neck. Utt¡namay¶r¡sana is also known as madhyasetu, which can beapproached from dvip¡da p•†ham, explained earlier. The starting point issarv¡©g¡sana. Exhale, and keeping your palms firmly on your back, slowly drop thelegs to the ground, stretching the front portion of your body. Stretch your legs, keep-ing your head, neck, and shoulders on the floor. Stay for a short period, say, up toone minute. Exhale, press your elbows and head, slightly bend the knees and returnto sarv¡©g¡sana. After considerable practice it may be good to follow hal¡sana withutt¡namay¶r¡sana and then return to hal¡sana, with the appropriate breathing. Thissequence may be repeated three to six times.

˛irß¡sana and Variations©

The ability to stand on one’s head unaided for the first time brings the same senseof elation as a child seems to feel when it stands unaided on its feet for the firsttime. ˛irß¡sana, or headstand, is arguably the first among all ¡sanas. Yoga teachersand practitioners, ancient and modern, have spent considerable time on the practiceand study of its physiological and mental effects. Medical practitioners andresearchers interested in yoga give considerable importance to this posture andstudy its effects on the whole system. Unable to get large numbers of subjects whopractice ≈•rß¡sana, some researchers have even gone to the extreme of using miceturned upside down in glass tubes, or novices strapped inverted on inclined planes,to study the effects of ≈irß¡sana. The best research in yoga is forone to experiment on oneself and feel the effects.

In ≈•rß¡sana, gravity aids in the free flow of blood to the organsof perception. It has both curative and preventative properties.˛irß¡sana requires considerable preparation of the body, however.Especially for those who are obese, it is imperative that the bodyacquire some flexibility (laghava) through the practice of mudr¡s(especially mah¡mudr¡) and pr¡∆¡y¡ma in such postures aspadm¡sana, vajr¡sana, and so on, before attempting ¡sanas like≈•rß¡sana. Several renowned commentaries on Patañjali’sYogas¶tras give considerable details that are helpful in the prac-tice and mastery of many ¡sanas. The main objective of ≈•rß¡sanais not merely to arrange for a copious blood supply to flow to thehead and upper limbs of the body, but also to slow down the respi-ratory rate. It is the contention of yogis that one’s predeterminedlife span is measured in terms of breaths, and not in time. Thus


˛irß¡sana by a 12-year-old girl

yogis have always attempted to prolong the life span by reducing the number ofbreaths per unit of time. The word pr¡∆¡y¡ma means both “breath” and also“lengthening the life span.” In that, ≈•rß¡sana has a very important role to play. Thuswhen ≈•rß¡sana is mastered (¡sana siddhi), the breath rate, which is normally aboutfifteen to twenty breaths per minute, automatically comes down. Such a reductionis within the capacity of anyone who spends the time necessary to achieve it. Theaim should be to reduce the breath rate to about two breaths per minute while doing¡sanas; at this rate it is normal to do twenty-four breaths over twelve minutes whilepracticing the ¡sana.

˛•rß¡sana should always be done in the morning, as is laid down by authoritieson yoga. And as a counterpose, it should be followed by an equal length of time inthe practice of sarv¡©g¡sana. The procedure is thus to do ≈•rßasanam for twenty-four breaths, followed by a two-minute rest in ≈av¡sana. Then one should dosarv¡©g¡sana for the equal number of twenty-four breaths, followed by a sittingposture such as padm¡sana for a few breaths, until one feels normal and relaxed.This is the method of progression, or viny¡sa. Even then, ≈•rß¡sana should be doneonly after a few preparatory exercises, such as sarv¡©g¡sana, and certain bandhasand mudr¡s, as mentioned earlier.

In ≈•rß¡sana, the brain and the glands in the brain get a better supply of blood,and the body’s internal organs get displaced upward. The two-minute rest is used tonormalize. Similarly, the organs are displaced upward in sarv¡©g¡sana, but the flowof blood to the head is restricted (especially if one does sarv¡©g¡sana properly, withthe chin pressing against the chest making a bandha). But the thyroid and the upperpart of the body get an extra supply of blood. Again, a rest period helps to normal-ize. Then when a sitting posture is taken up, the internal organs retain their properposition. This group of ¡sanas, therefore, helps to restore the state of equilibrium ofthe vital organs such as the liver, kidneys, and prostate. This is the reason for doingthose postures in that particular order.

The breathing pattern in ≈•rß¡sana requires some attention. As mentioned, thereare four distinct steps in breathing in yog¡sana practice. One should practice normalinhalation (p¶raka), with no deliberate holding after inhalation in the initial stages ofpractice, and then a long exhalation (recaka). During the changeover from p¶raka torecaka, however, there is an interval of about two seconds when there is a pause inthe gati (movement or flow) of pr¡∆a. After some practice, kumbhaka, say, for up tofive seconds after inhalation and for up to ten seconds after exhalation (b¡hya-kumb-haka), may be practiced. During b¡hya-kumbahka, one should slowly start practic-ing m¶la bandha and udd•y¡na bandha as well. If one is steady (sthira) andcomfortable (sukha) in ≈•rß¡sana, then the effects of the bandhas are accentuatedowing to the effects of gravity. Actually, after a few minutes of practice, the musclesof the legs and thighs, the gluteal muscles, and even the chest, back, shoulders, and


neck relax, and with these muscles not being required to maintain their tone, the per-ineal and rectal muscles can also be drawn in to get good m¶la and udd•y¡na band-has. ˛•rß¡sana, which is also known as kap¡l¡sana and brahm¡sana, depending uponwhich part of the head touches the floor (and which are, however, only learned fromgreat yogis who can tell the difference), lends itself to a variety of viny¡sas.

Research done so far on the headstand confirms most of the views expressed inthe traditional books, though some claims appear to be inconclusive, since adepts inyoga are not readily available for study. It has been found that, owing to the


Step 3Step 2˛•rß¡sana (at age 75) Step 1

Step 6Step 5Step 4

inverted nature of the posture and the relaxation in the leg muscles, the pressure inthe legs drops to about twenty or thirty milligrams. There does not seem to be agreat rush of blood to the head, however, as is normally believed. In fact, a fewyears back, when yoga was not as popular as it is today, many people were advisednot to do ≈•rß¡sana because it was thought it could precipitate a stroke as the resultof the increased flow and pressure in the brain vessels. But now we know that theblood flow to the head is not appreciable enough to cause any serious damage, and,because of autoregulation, the body adjusts the flow by constriction. But it is suffi-cient to dilate many capillaries that are normally closed, and it helps to improve theoxygen supply to many cells that normally are not sufficiently oxygenated. Thus dif-ferent parts of the brain that are never helped during normal standing or sittingappear to be helped in ≈•rß¡sana. One has to admit that people with high blood pres-sure or retinal problems are well advised to be cautious and to do the posture underexpert guidance. In cases of mild heart condition, because it appears to helpincrease pressure on the shoulders, the brain acts to reduce the blood pressure. It istherefore found that if one practices ≈•rß¡sana regularly, one’s pulse rate lowers sig-nificantly, thereby reducing the strain on the heart. There is also a reduction inblood pressure.

The circulation of cerebrospinal fluid is also increased to a greater degree thanin any other exercise. If properly done, ≈•rß¡sana increases brain capacity andmemory power. It also has some sedative effect, and many people suffering frominsomnia respond well to ≈•rß¡sana. It has a tonic effect on the testes, ovaries, andpelvis because it removes congestion. Gastrointestinal diseases are also treated bythe posture, and varicose veins tend to disappear. The liver and spleen are alsoexercised by the effects of gravity and the bandhas. The leg muscles, knee joints,and stubborn hip joints became more flexible in due time. Some of the variations of≈•rß¡sana, such as ¶rdhvapadm¡sana, tend to enhance its effects.

Research has also suggested that ≈•rß¡sana seems to stimulate the nerve centersresponsible for bronchial-tube dilation, and as such it is highly beneficial to asth-matics. There is a draining of the bronchial tubes, and thus the posture is beneficialto those suffering from all respiratory ailments. The bandhas in ≈•rß¡sana help ineradicating hemorrhoids in the early stages and both rectal and vaginal prolapse,especially in their early stages. It is also a good postnatal exercise. Even in certainprenatal cases, if the patient had been practicing the posture before pregnancy, itmay be continued under proper guidance during pregnancy, for it helps improve cir-culation. Certain cases of retroversion of the uterus can also be helped, in the earlystages. Some women are known to have practiced all through their pregnancy. Ihave seen students of my ¡c¡rya, encouraged by him, doing ≈•rß¡sana duringadvanced stages of pregnancy.

Even though ≈•rß¡sana is an exceptionally great yogic posture, many find it very


difficult to attain it and become steady and comfortable enough toderive its full benefits. Some have a natural tendency and a goodsense of balance, and they attain the posture easily; but many oth-ers have considerable difficulty. It is better to practice ≈•rß¡sanaunder proper guidance. Having prepared one’s body well, espe-cially the neck and shoulders, with sarv¡©g¡sana and other armmovements, one may attempt to do ≈•rß¡sana. Use a soft carpet,folded into four. In the initial stages it is advisable, or, rather, nec-essary, to use a wall for support.

Start with samasthiti. Exhale and proceed to do utka†¡sana andthen vajr¡sana (explained in chapter 12). Then, exhaling, bend for-ward, keeping your elbows and hands on the floor, with fingersinterlocked but turned inward, the sides of the little fingers remain-ing on the floor. Keep your head between the cupped palms, thehead itself remaining about two to three inches away from the wall.Slowly exhale, press your elbows, hands, and little fingers, andstretch your legs, pushing your back toward the wall, arching it in the process, andusing the top of your head as the fulcrum. In the process, your legs and feet are alsodrawn a little toward your body, “walking” on your big toes in the process. Stay fora few breaths, then, as the small of your back touches the wall, hold the breath afterexhalation and with a slight push transfer the weight of your body to the head, plac-ing your back against the wall and taking your feet off the floor. Your legs may alsobe bent in the process, so that your knees are a few inches above your chin (called¡kuñcan¡sana). Stay for a few breathes, getting a feel for your balance. Then slowlystretch your legs on inhalation and keep your heels on the wall. One should keep theneck, body, and legs straight, and the thighs, knees, and ankles together. This is≈•rß¡sana. Stay for a few breaths. Now again on exhalation, bend your knees, returnto the intermediate stage of ¡kuñcan¡sana, and stay for a few breaths. On the nextexhalation, lower the legs and return to vajr¡sana. This process may be repeated afew times.

After some practice, try to pull your body (back, buttocks) away from the wall,keeping only your heels on the wall for support. Try to keep your ankles stretched.After gaining some confidence, draw one leg completely away from the wall, stayfor a few breaths, and return the leg to the wall. Repeat on the other side. There-after, one should attempt to take both heels away from the wall and to practice true≈•rß¡sana, repeatedly returning to the wall for support. Day by day, one will be ableto maintain good balance. After a few days’ practice (some may take weeks or evenmonths), one should try to go up into the posture purely on the strength and controlof the elbows, with the shoulder and neck muscles barely touching the wall whileone is going up or coming down. After repeated practice, one may attempt to do the


˛•rß¡sana with m¶la and udd•yana bandhas

posture without a wall. There are advantages to practicing in the corner of a room:It helps to prevent lateral movements of the body and legs and to avoid distortionsand consequent pain in the neck and shoulders. It is better, however, to learn theposture from a teacher.

In ≈•rß¡sana the head point should be the top (crown) of the head; however, onehas to make minor adjustments almost continuously. The elbows should be used,especially in the initial stages, to attain and maintain balance. Later on, it may bepossible to take the arms away from the head for nir¡lamba and other variations of≈•rß¡sana, which depend on the variations in the arm positions. Then there areviny¡sas that vary the positions of the legs, spine, and so on. For the yog¡bhy¡s•,≈•rß¡sana affords perhaps the maximum number of variations and movements. Afew of these variations will be described here. Bending and lowering the legs into¡kuñcan¡sana is good for exercising the shoulders and for getting good control overthe headstand posture. ⁄kuñcan¡sana is done on exhalation, and one may return to≈•rß¡sana upon inhalation. Further, one may stay in ¡kuñcan¡sana for a few breaths,say, up to six or so. Another variation would call for exhaling and rounding the backso as to lower the legs so that they are straight and parallel to the floor. Good con-trol of the elbows and shoulder muscles is required for this movement, which isknown as ¶rdhvada∆∂¡sana, and which has a very good effect on the abdominalmuscles, helping to strengthen them. Inhale and return to ≈•rß¡sana. Perhaps one ofthe more fascinating variations is ¶rdhvapadm¡sana in ≈•rß¡sana. In ≈•rß¡sana,exhale and spread the legs, which is known as ¶rdhvako∆¡sana. Then exhale, andbend your left leg, keeping your foot on the right thigh. On the next exhalation, com-plete padm¡sana while in ≈•rß¡sana. This is ¶rdhvapadm¡sana.


‡rdhvada∆∂¡sana ‡rdhvapadm¡sana⁄kuñcan¡sana

Now exhale, bend at the hips, and fold the padm¡sana bybringing your knees toward your body, bending at the hips. This is¡kuncita-¶rdhvapadm¡sana. Then, exhaling further, round yourback and lower your legs in padm¡sana so that they are in front ofthe chest. According to a few authors, this is called pi∆∂¡sana in≈•rß¡sana, as it resembles a fetus (refer also to pi∆∂¡sana insarv¡©g¡sana). It is also known as vipar•ta yogamudr¡. Inhale,return to ¶rdhvapadm¡sana, and then with your right leg crossedfirst for padm¡sana repeat the movements. ˛irß¡sana could be thetransition posture for some of the balancing postures. Keep yourforearms, elbows, and palms on the floor by releasing the inter-locking of the fingers. Now, as you inhale, press your forearms andraise your head, even as your body is arched back and your legsare pushed back to maintain balance. This is calledpincamay¶r¡sana, or dancing peacock pose. If on the next inhala-tion, you bend your knees and bend your body a little more andraise your head, you may be able to place your feet on top of yourraised head even as you balance on your forearms. This balancing pose is calledvƒ≈cik¡sana, or scorpion pose. There are several other balancing postures that canbe reached form ≈•rß¡sana.

One may go up into ≈•rß¡sana by bending the knees as described earlier, or bykeeping them straight as well, reaching the ¶rdhvada∆∂¡sana halfway through. It isalso possible to go up into ¶rdhvapadm¡sana straight from padm¡sana. One may


⁄kuncita-¶rdhvapadm¡sana ⁄kuncita-¶rdhvapadm¡sana side view

Vipar•ta yogamudr¡

‡rdhvako∆¡sana

also return to padm¡sana by retracting the steps from ¶rdhvapadm¡sana and¡kuncita-¶rdhvapadm¡sana and then touching the ground with the knees, releasingthe head from ≈•rß¡sana and moving back to padm¡sana or parvat¡sana. Youngsterslove to do ¡sanas when they are interspersed with such variations; through them,they get to appreciate what a beautiful, versatile, and dexterous piece of equipmentthe body really is. Only a few variations have been covered here.

It is nice to stand on one’s own head, after all.


10Prone Postures and the Spine

POSTURES STARTING FROM THE PRONE POSITION, lying facedown, formanother important group of ¡sanas that are especially useful for the spine and lowerback. When done with viny¡sas, they are easy to make progress in and have veryimportant benefits. The main prone-position ¡sanas are bhuja©g¡sana (serpent),≈alabh¡sana (locust), and dhanur¡sana (bow posture). And some of these could beused as counterposes, or pratikriy¡s, following sarv¡©g¡sana.

Bhuja©g¡sana©

For bhuja©g¡sana, start with samasthiti. Inhale, raiseyour arms overhead, and interlock your fingers, turn-ing them outward. Exhale, proceed to utka†¡sana,and place your palms by the sides of your feet. Takea few breaths. Then, holding your breath after exha-lation, press your palms and jump back tocatura©gada∆∂¡sana. Then lie down on the floor,facedown. This procedure may be adopted for start-ing any of the prone postures. Keeping your palms atyour sides and in line with the diaphragm, inhale andraise your upper body by pressing your palms, Bhuja©g¡sana

C 150 Prone Postures and the Spine

pelvis, and legs. Arch your back up to your navel, keeping your eyes open. This isbhuja©g¡sana, or serpent posture. Stay for a few seconds and return to the startingposition on the exhale. You may also just keep your forearms on the floor and raiseyour upper body. This is a very simple and effective posture to relieve strain in theneck. Some authors call it makar¡sana, or crocodile posture. The next step will beto raise your upper body and arch your spine, raising your trunk up to your pubiswhile inhaling. Press your pubis and contract your anal and gluteal muscles. This isanother variation of bhuja©g¡sana. Exhaling, return to prone position. Repeat a fewtimes. Bhuja©g¡sana is especially useful for relieving lower-back pain, and, if donecarefully and under proper supervision, it can be very beneficial for those sufferingfrom slight displacement of a disk. It strengthens the ligaments and muscular sup-ports of the spinal column.

Bhuja©g¡sana, as the name indicates, should be done purely with the strength ofthe spine, dispensing with the aid of one’s hands altogether. The posture then

resembles a limbless reptile, the snake.One’s palms are kept either by the side ofthe thighs, or on the back, or in a backsalute. A further variation requires bendingthe knees on exhalation, so that the thighsare parallel to the floor and the chest abovethe floor is slightly arched. There is atremendous contraction of the lower backthat helps to relieve lower-back pain. Someauthors refer to this variation asmakar¡sana, or also as a variation of≈alabh¡sana.

Makar¡sana R¡jakapot¡asana

˛alabh¡sana (viny¡sa)(preparatory)

˛alabh¡sana©

˛alabh¡sana is an improvement on bhuja©g¡sana in that not only is the chest raisedand the spine arched but the legs are also raised, so that the body is balanced on thestomach. To explain this pose and its variations, a step-by-step approach is best.Start from samasthiti. Inhale, raise your arms overhead, interlock your fingers, andturn them outward. Exhale, and proceed to utka†¡sana. Then, keeping your palms atthe sides of your legs, press your palms, exhale, and jump back tocatura©gada∆∂¡sana. Stay for a few breaths. Exhaling, lie down on the floor, face-down; keep your arms stretched alongside your body, palms facing upward. Closeyour left fist. Inhale, and raise your right arm overhead, sweeping it along the floor.Inhaling, raise your right arm and your head, chest, shoulders, and right leg, fromthe pelvis, so that your right thigh is clearly above the floor. Don’t tilt to the left side.Your shoulders should be at the same level. Exhale and return to the prone position.Inhale, and raise your right arm and yourhead, chest, shoulders, and left leg, from thepelvis, stretching all the way from your fin-gertips to your toes along the spine andacross to your left leg. Return to the startingposition. Exhale and lower your right arm.Repeat with your left arm raised overhead.

Raise both arms overhead while inhal-ing, and keep both palms together as if doingpr¡∆am. Inhale and raise both arms and bothlegs so that you are balanced on your navelregion. The stretching is felt all over yourbody, from your fingertips to your outstretched

Prone Postures and the Spine 151 D

˛alabh¡sana (viny¡sa)˛alabh¡sana

˛alabh¡sana (viny¡sa)

ankles, feet, and toes. Your shoulders should be thrown slightly backward, forminga canal along the spine; your gluteal muscles should be contracted to enhance thestretching of the spine and legs. Return to the starting position. Keep your armsalongside your body and repeat. This is ≈alabh¡sana.

Further variations are possible. Keep your palms with fingers interlocked on theback of your neck. Inhale, raise your head, chest, arms, and also your legs, keepingyour knees together and straight. Some authors call this posture makar¡sana, but itis basically a variation of ≈alabh¡sana. Inhale and return to the prone position.Inhale and spread your arms, keeping them at shoulder level, with palms on thefloor. Exhale, and on the next inhalation raise your head, shoulders, and yourstretched hands. Also raise your legs and spread them apart as much as possible,balancing on the navel region. Exhale and return to the starting position. This isknown as vim¡n¡sana, or aircraft pose. Keeping your palms on your back in theañjali position, inhale and raise your head and shoulders, arch your spine, and raiseyour legs, again balancing on the lower abdomen. Raising the trunk, which is theoperating movement, can be done on exhalation. This langhana kriy¡ will be help-ful for obese, stiff, and older people in doing these viny¡sas.

Dhanur¡sana©

Having made the shoulders, lower back, and spine more flexible, one may attemptdhanur¡sana, both to enhance the effects of these easier ¡sanas and to give strengthto the shoulders and the back. Dhanur¡sana can be done with various preparationsand viny¡sas.

As in bhuja©g¡sana, move into the prone position from samasthiti. Inhale andraise your right arm overhead, making a sweeping movement along the floor.


Vim¡n¡sana˛alabh¡sana pƒß†añjali

Exhale, bend your left knee, and hold it, with the left hand, behind your back. Ini-tially it may not be possible to do this variation. But the preparatory ¡sanas, espe-cially ≈alabh¡sana, will be helpful for preparation. After one or two breaths, inhaleand raise your head and right hand and arch your spine, simultaneously pulling yourleft leg and thigh up, as high as possible, keeping your right leg on the floor. Exhaleand return to the starting position. Exhale, lower your right arm, and hold your leftankle with both hands. On the next exhalation, raise your head, chest, and shouldersand pull your left leg upward as high as possible, arching the spine. Exhale andreturn. Now inhale, holding your left ankle with your right hand, and raise your leftarm overhead. Exhale, and then inhaling, raise your head, chest, and shoulders, andleft arm and also pull your left leg up with your right hand, keeping your right legon the floor. Inhale and return. Repeat for the other side.

Exhale, bend both knees, and hold both ankles with their respective hands;inhale and raise your head, chest, and shoulders and pull your legs up as high aspossible, arching the back and pulling the thighs to form a bow. Stay a few seconds


Dhanur¡sana (viny¡sa 2)preparatory

Dhanur¡sana (viny¡sa 1)preparatory

Dhanur¡sana Dhanur¡sana (viny¡sa 3)preparatory

and return to position. Repeat a few times. The knees and ankles should be keptclose together. This is dhanur¡sana, or bow posture. With some practice, afterachieving dhanur¡sana, one can inhale and roll over to one side, keeping the bodyarched. On exhalation, return to dhanur¡sana. Repeat on the other side. Now holdyour right ankle with your left hand and your left ankle with your right hand onexhalation. On inhalation, arch the trunk. This is one variation of dhanur¡sana thatworks more on the shoulders, forearms, and wrists. The shoulder blades pressagainst each other and form a canal along the spinal column.

With age, the spine becomes rigid, and dhanur¡sana helps to keep the lowerback flexible; thus one is supposed to be kept young by the regular practice of dha-nur¡sana. Apart from strengthening the spine, it works on the abdominal organs andimproves their function. Along with the practice of ≈alabh¡sana, people who sufferfrom slight slipped disks could benefit considerably from dhanur¡sana. With ourunnatural upright position, aggravated by sedentary habits and other activitiesrequiring long periods of crouching, we can feel the tonic effects of this robust back-bending exercise. ˛alabh¡sana is also a very useful counterpose for many forward-bending exercises and those requiring the forward curving of the spine, such assarv¡©g¡sana and hal¡sana. Ghera∆∂a refers to these postures in his Saµhit¡, andhe lists the following as the benefits. Makar¡sana and ≈alabh¡sana are supposed toincrease body heat by improving circulation, digestion, and metabolism. Regardingbhuja©g¡sana, he says,

A©gußta n¡bhi paryantam⁄dhi bh¶mau Viny¡setKaratal¡bhy¡m dharam dhrutv¡¶rdhva≈irsa phanaiva hiDeh¡gni˙ vardhate nityamSarv¡roga vin¡≈anamJ¡garti bhuja©g• deviBhuja©g¡sana s¡dhanam.


Dhanur¡sana (viny¡sa)Dhanur¡sana (p¶r∆a)

Ghera∆∂a explains that “the part of the body between the navel and the toes iskept on the floor. Place the pelvis on the ground, raise the head [and upper portionof the body] like a serpent. This is called the serpent posture. This posture alwaysincreases body heat and eradicates all ailments, and through practice ofbhuja©g¡sana the goddess Bhuja©g• (the serpent goddess, or ku∆∂alin•) becomesalive or is awakened.”

Dhanur¡sana is simply explained as follows:

Pras¡rya padau bhuvi da∆∂ar¶pauKar¡n ca dhƒtap¡dayugamamKƒtva dhanustulya parivartit¡©gamNigadya yog• dhanur¡sanam tat.

“Stretching the legs on the ground, straight as a stick, and catching hold of the feetwith the hands, thus making the body bent or arched like a bow, is known by yogisas dhanur¡sana.”


11Pascimata-nam

ONE OF THE ⁄SANAS THAT COMPREHENSIVELY test the willpower, perse-verance, and endurance of an abhy¡s• is pa≈cimat¡nam, or the posterior-stretching¡sana, along with its viny¡sas, in which the stretching extends from the toes to thefingertips in one continuous movement. A highly beneficial posture, it improves cir-culation and muscle tone in a large group of posterior muscles, especially when itis combined with its counterpose, or pratikriy¡, p¶rvat¡n¡sana. Almost all texts onyoga refer to this ¡sana. It is also known as pa≈cima-utt¡n¡sana, the preposition utindicating an upward pull of all posterior muscles. Another name by which it isknown is ugr¡sana, which is indicative of the tremendous effort necessary toachieve it and the benefits in the areas of muscle tone and strength it bestows. Brah-macary¡sana is yet another name given to it. Evidently it helps in maintaining brah-macarya and is foremost among those that awaken ku∆∂alin•.

Pa≈cimat¡n¡sana is yet another posture that brings out the unique character ofour ¡c¡rya’s yogic system. It does not involve merely sitting, stretching one’s legs,and touching one’s toes, as is generally understood. When done with viny¡sas andproper breathing, the pa≈cimat¡na group works on the complete system, as isreported in the yoga texts. Viny¡sas, with corresponding breathing and pratikriy¡s,are essential for ¡sana siddhi.

A stanza appearing in the Tri≈ikhibr¡hma∆a Upanißad of the ˛ukla Yajur Vedamerely gives the basic description of the posture. It says to sit and extend the legs,keeping them straight. Then, extending the arms, one should hold one’s big toes

with the hooked fingers. Stretching the torso, one should then bend down and placeone’s forehead on one’s knees. There are many variations of pa≈cimat¡nam. Themost popular one described in the above Upanißad can be done in steps, or viny¡sas.

Start from samasthiti. Breathe normally a few times. While inhaling, raise yourarms overhead. Exhale, and while stretching from the hips, bend forward and keepyour palms by the side of the feet, touching your knees with your forehead. This isutt¡n¡sana. Some people do utka†¡sana. Now keep your palms by the side of yourfeet. Inhale and hold your breath. Press your palms, and after slightly bending yourknees, jump back to attain catur¡©gada∆∂¡sana, as described in chapter 7. One mayalso reach this position fromutka†¡sana, by gently raisingthe buttocks and attaining aposition halfway betweenutka†¡sana and utt¡n¡sana.From catur¡©gada∆∂¡sana,inhale. While pressing yourpalms, stretching your ankles,and arching your back, bringyour pelvis between yourpalms, supporting your body onyour palms and toes. This iscalled ¶rdhvamukha≈v¡n¡sana.Proceed to adhomukha≈v¡n-¡sana on the exhale. Slightlybending your knees and hold-ing the breath after inhalation,

Pa≈cimat¡nam 157 D

Preparation for da∆∂¡sana Jumping to da∆∂¡sana

Samasthiti Utt¡n¡sana

C 158 Pa≈cimat¡nam

swing forward, first completely flexing the knees and extending them after crossingthe supporting arms. Land on the floor with legs extended and your buttocksbetween your palms. This is da∆∂¡sana, mentioned in Vy¡sa’s commentary onPatañjali’s Yogas¶tras. Now inhale and raise your arms, stretching your shouldersand neck in the process. Stay for a few breaths, focusing your attention on the tip ofyour nose. Exhaling, extend your arms forward, pushing your pelvis and spine, andhold your big toes with your thumbs and next two fingers, which form a hook, all thewhile pressing the back of your legs against the floor. After a few breaths, furtherextension may be attempted. Exhaling and spreading the elbows, you should loweryour torso so that the forehead is placed between your knees, which should bestraight. This is pa≈cimat¡n¡sana.

Pras¡rya padau bhuvi da∆∂ar¶pauSanyas†a bhalancita yugma madhye |

Yetnena p¡dam ca dhrutau kar¡bhy¡mYogindra p•tam pa≈cimott¡nam¡hu˙ |

This stanza from Ghera∆∂a admits the necessity of repeated efforts (yetna) toachieve the posture. In the initial stages, it may be difficult even to sit in da∆∂¡sanawith your arms raised. Back, thighs, the stubborn hamstrings, and the ankles refuseto budge. But with deeper exhalation, relaxed concentration, perseverance, andsome coaxing by the abhy¡s•, the muscles slowly yield and after considerable prac-tice the posture may be achieved fairly comfortably.

One may stay in this ¡sana for a few breaths, or even up to a few minutes. It willbe possible only when one begins to enjoy the posture, as is evidently the case inSv¡tm¡r¡ma’s description in the Ha†hayogaprad•pik¡:

Da∆∂¡sana Da∆∂¡sana (nir¡lamba)

Pras¡rya padau bhuvi da∆∂ar¶pauDorbhy¡n p¡d¡gra dvitayan gƒh•tva |

Jan¶pari nyasta lala†adeseVasetidam pa≈cimat¡namahu˙ |

Here, the author recommends the abhy¡s• stay in the posture. By his use of theword vaseth one should infer a considerable length of time. Adepts may proceedto a further extension of the posterior muscles. After some practice, one may keepone’s chin on one’s knees. Further extension will require keeping one’s foreheadon one’s shins, about three inches beyond one’s knees. Variations of hand positionsare also possible by keeping one’s palms fully on the floor, or by holding one’sheels while keeping the fingers interlocked and turned outward around one’s soles.Keeping one’s palms on the floor and clasping one wrist with the other hand is yetanother viny¡sa. The stretch can be also done without the support of one’s arms(nir¡lamba), such as if one keeps one’s arms extended at shoulder level, or keepsone’s palms clasped behind one’s head, as mentioned in the ˛iva Saµhit¡, orkeeps them together in the añjali position behind the back, and so on. One mayattempt to balance in the posture by keeping one’s palms by the side of the thighsand raising the body. Readers may find a similarity with certain exercises using theparallel bars in gymnastics. Our ¡c¡rya contended that yogis had actually inventedmany gymnastic aids, and thus it is highly probable that gymnastics is basically anoffshoot of yoga, or at least its basis was provided by yoga, even though gymnas-tics these days appears to be far different from yoga. This exercise is known asutpluti and may be attempted in different sitting postures, such as padm¡sana andsiµh¡sana. Keeping your palms on the floor by the side of your hips, return tocatur¡©gada∆∂¡sana. The next viny¡sas actually retrace the path via ¶rdhva-mukha≈v¡n¡sana, adhomukha≈v¡n¡sana, utka†¡sana, utt¡n¡sana, t¡∂¡sana, andsamasthiti.

This ¡sana is highly beneficial for general improvement in circulation, muscletone, and strength, and it improves the function of all abdominal and pelvic organs,the kidneys, and the spine. It is said to improve vitality, correct certain cases ofimpotency resulting from increased vascularity of the organs of the genitourinarytract, and, paradoxically, helps control the sex drive (reta-skhalanam), whencederives its name of brahmacary¡sana. A friend once told me at the end of a class inwhich several variations of pa≈cimat¡nam were done that he had experienced afree flow of urine for the first time in several years; he appeared to suffer fromsome degree of prostatitis. All the posterior muscle groups and joints, including theheels, calf muscles, hamstrings, and knees, and the thigh, gluteal, and lumbosacralmuscles, as well as the spine, shoulders, neck, arms, wrists, and even knuckles, get


stretched. There is hardly a yoga text that does not refer to this posture and describeits benefits, of course using the peculiar language used by ancient yogis. This impor-tant ¡sana (¡sanam¡grayam) makes the wind, or force (pavana), flow through thesußum∆¡ and stimulates the gastric fire (j¡†har¡nala), reduces the abdomen(k¡rßyam udre), and makes one free of disease (arogat¡m).

Stretch out your legs and keep them slightly apart. Firmly take hold of your headwith your hands and place it between your knees. This is called ugr¡sana, said to bethe best among ¡sanas, for it improves the movement of bodily forces (anila).Known also as pa≈cima-utt¡n¡sana, it removes lethargy and weakness (dehaavasanah¡ranam). Discriminating abhy¡s•s should master this beneficial posture bydaily (pratyahan) practice. It makes v¡yu (energy) flow in the posterior regions andmakes one strong. Those who practice it with diligence find all the siddhis gener-ated in themselves. Thus, through his or her own effort, the yogi should master theposture. These benefits should be treated with great care and not given out indis-criminately. For through it, v¡yusiddhi, or activation of all the pr¡∆as (metabolism,circulation, respiration), takes place and it destroys multitudes of miseries.Ghera∆∂a refers to this as the king of all sitting postures (yogindrap•†ham).

Since this posture is strenuous exercise, it requires a counterpose to normalizethe body. P¶rva-utt¡n¡sana, or anterior-stretching pose, not only helps relieve strainbut also stretches the anterior muscles, and thus completes the involvement of allthe major muscle groups. Proceed from da∆∂¡sana. Keep your palms by the sidesof your buttocks or about a foot behind them. Pressing your palms and heels, inhaleand raise your trunk as high as possible, stretching your ankles and keeping yourfeet on the ground, and also keeping your knees straight and stretched. Exhale and


Anterior stretching poseDa∆∂¡sana

return to the starting position. You may repeat theposture a few times, and later, stay in the posture fora few breaths. It is a very good stretching movementinvolving the front portions of the ankles, shins,knees, thighs, pelvis, abdomen, chest, neck, shoul-ders, arms, and wrists. For obese people, the raisingof the trunk may be done in langhana kriy¡. Since inboth postures the knees are kept straight, to releaseknee strain another posture, catußp¡dap•†ham, can beincluded in the same group of ¡sanas. Fromda∆∂¡sana, exhale and bend your knees. Then inhale,pressing your palms and feet, and raise your trunk,keeping it parallel to the floor. Exhale and return.Repeat a few times. One may also remain in the pos-ture for a few breaths. With this ¡sana, a better stretch-ing of the shoulders and neck is possible; the hip jointsare also exercised better. It may be done as langhanakriy¡. Since it resembles a table, it is calledcatußp¡dap•†ham, or four-legged seat. From the start-ing point of catußp¡dap•†ham, inhale, press your palms,and stretch your legs, making a sixty-degree angle tothe floor. Balancing on your buttocks, lift your handsand stretch them in front, stay for a few seconds, andthen return to the original position. Repeat a few times.This is known as n¡v¡sana, or boat posture.

This group of postures can be done in one continu-ous stretch, and then one may rest in ≈av¡sana. For themajority of people who have difficulty in doingpa≈cimat¡n¡sana, a few methods are suggested to getmore mobility out of the stubborn hip joints. You maystart from the lying-down posture. With arms over-head, exhale, pressing your heels and buttocks, andraise your trunk, bending forward as far as you can,and hold the ankles or toes. Inhale and return to lyingposition. This may be repeated a few times. One mayalso start from hal¡sana. From hal¡sana, inhale, raiseyour arms overhead, and then touch your toes.While inhaling, roll back to lying position and, in acontinuous motion, exhale and do pa≈cimat¡nam, as


Catußp¡dap•†ham (preparation)

Catußp¡dap•†ham

Catußp¡dap•†ham (viny¡sa)

described earlier. One may repeat a few times. These dynamic movements help toexercise the posterior muscles, paving the way for achieving the posture. Children lovethese dynamic movements.

Because there are a number of muscles and tendons that are seldom exercised,yogis have invented several hybrid postures to stretch and exercise them. Many suchpostures are in vogue. Combining pa≈cimat¡n¡sana and baddhapadm¡sana gives ardhabaddhapadmapa≈cimat¡na, a viny¡sa. Similarly, there is mah¡mudr¡, whichcan be looked upon as a combination of baddhako∆¡sana and pa≈cimat¡na. Whencontinued with v•r¡sana, we have triya©gmukha-ekap¡dam, and so on.


N¡v¡sana (nir¡lamba)

Baddhako∆¡sana Baddhako∆¡sana (forward bend)

N¡v¡sana (s¡lamba)


Triya©gmukha-ekap¡da-pa≈cima-utt¡n¡sana

Da∆∂¡sana(Stage 1 for pras¡ritap¡da)

Triya©gmukha sthiti

Upaviß†hako∆¡sana sthiti

Da∆∂¡sana(preparation for triya©gmukha)


Upaviß†hko∆¡sana (dakßina-p¡r≈va, or right side) Upaviß†hako∆¡sana (pratikriy¡)

Upaviß†hako∆¡sana(movement)

Upaviß†hako∆¡sana (p¡r≈va)

Upaviß†hako∆¡sana(forward bend)

12Padma-sanaand Other Postures for Yoga Sa-dhana

THE HAˇHAYOGAPRAD°PIK⁄ OF SV⁄TM⁄R⁄MA discusses ¡sanas firstbecause they form the first stage of ha†hayoga. The text says that ¡sanas make onefirm and free from diseases, and also make one feel extremely light and flexible.In his commentary Jyotsn¡ on the Ha†hayogaprad•pik¡, Brahm¡nanda says that¡sana practice makes one firm because it weakens the rajogu∆a (¡sanena rajohanti) that cause fickleness (vikßepa of the citta). Since ¡sanas eradicate diseases,they help the mind to concentrate. According to Patañjali, diseases (vy¡dhi), dull-ness (sthy¡na), doubt (sam≈aya), inattention (pram¡da), sloth (¡lasya), worldliness(avirati), false notions (bhr¡ntidar≈ana), and instability (anavsthita) are the causesof the distraction of the mind, and as such are the obstacles for material or spiritualprogress. Although it is impossible to explain clearly and thus realize the importanttruths that underlie the various ¡sanas, and until the human system is understood inall its intricacy and detail, suffice it to say that the various ¡sanas bring about manyimportant results—physical, physiological, psychological, and spiritual. Forinstance, various nerve centers are activated in ¡sana practice, and these are effec-tive in helping to control the irregularities of the body; what is more fascinating butno less true is the purification of the mental process that results—the mind becomesmore and more attentive (ek¡gra).

Padm¡sana and Variations©

Padm¡sana is one of the well-known ¡sanas and holds pride of place among sittingpostures. It easily fits into Patañjali’s dictum that an ¡sana be sthira sukham

¡sanam, that is, “steady and comfortable.” Padm¡sana, especiallyits important variation baddhapadm¡sana, completely immobilizesthe limbs and gives steadiness to the yogi’s posture. The stretchingexperienced in all the stubborn joints—the neck, shoulders,elbows, wrists, lower back, hips, knees, ankles, and toes—makesit a complete posture. It gives one a firm foundation to sit forpr¡∆¡y¡ma, japa, or study. No doubt it holds the fascination ofmany yoga aspirants.

According to ˛r• Sure≈var¡c¡rya, the first p•†h¡dhipati of˛r•ngeri ˛a©kara Ma†h, padm¡sana, along with svastika,gomukha, and haµsa ¡sanas, are known as brahm¡sanas, as ismentioned in the last ull¡sa (chapter) in M¡nasoll¡sa, an authen-tic and elaborate commentary on ˛r• ˛a©karabhagavatp¡da’sDakßi∆¡m¶rthi Aßtakam. The narasiµha, garu∂a, k¶rma, and n¡ga¡sanas are known to be Vaiß∆avite, while v•ra, may¶ra, vajra, andsiddha are Rudra ¡sanas. Yony¡sana is known among ˛¡ktagroups, and pascima-utt¡n¡sana is a ˛aivite ¡sana.

The viny¡sakrama to reach padm¡sana would require startingfrom samasthiti and proceeding to da∆∂¡sana, the same ¡sana that is the intermedi-ate stage in pa≈cimat¡nam. Da∆∂¡sana is the posture for all sitting ¡sanas. Sit up andstretch your legs, keeping your back straight. Exhale deeply, bend your right leg, anddraw your right foot closer to your body with your hands, keeping it on top of yourleft thigh, in line with your groin. On the next exhalation, in similar fashion, bendyour left knee and place your left foot on top of your right thigh. Now you have avery firm base upon which to sit and your lower back is relieved of the outward curvenormally required to keep your body balanced. Now, with your palms fully coveringtheir respective knees, stretch your arms, spine, and neck and place your chin on thecenter of your breastbone, making j¡landhara bandha. Breathe normally, making ahissing noise through the partially closed glottis. This is padm¡sana. After a fewbreaths, do the posture with your left knee bent first. Initially, there no doubt will beexcruciating pain for some, but with deep exhalation, one should be able to slowlyrelax and repeat the movements. Those who are not used to squatting may haveproblems, especially in the early stages. Don’t force the bending of your knees.Many people have left yoga after a vigorous attempt to do padm¡sana in a hurry. Butonce the initial resistance is overcome, one will slowly start to experience the relax-

C 166 Padm¡sana and Other Postures for Yoga S¡dhana

Padm¡sana

ing effects of padm¡sana, whichis undoubtedly a marvel amongyog¡sanas. One feels extremelysecure and on a firm base, andthe lower back enjoys freedomand a comfort unknown even onthe most cozy of sofas. Thebody is erect but relaxed. Themind will naturally becomerelaxed and alert, unperturbedby the postural distractions.Those prone to rheumatism andstiffness in their knee joints willfind benefits.

After a few breaths, onemay practice m¶la bandha andudd•y¡na bandha. Thus it is possible to practice bandhatraya (all three bandhas) inpadm¡sana. It is a good posture for pr¡∆¡y¡ma, meditation, and saµyamas. Thereare a number of variations in padm¡sana that help to improve circulation andstrength, and to develop the body proportionally.

The next variation is bhadr¡sana (bharadra means “peace.”) Sit in padm¡sana.Inhale and raise your arms. On exhalation, lower your arms and keep your palmson their respective thighs with fingers pointing inward. Stretch your elbows, raiseyour trunk, and maintain j¡landhara bandha. Do between six and twelve longinhalations and exhalations with the bandhas. This is very good for the wrists, shoul-ders, neck, and spine. Inhale and raise your arms overhead, interlock your fingers,and stretch your spine, shoulders, neck, elbows, and wrists. Keep your chin lockedin j¡landhara bandha. This is parvat¡sana (parvata means “hill”). This posture helps

Padm¡sana and Other Postures for Yoga S¡dhana 167 D

Baddhapadm¡sana(with bandhas)

Bhadr¡sana

Ardhamatsyendr¡sana(in ardhapadm¡sana)

Ardhamatsyendr¡sana (viny¡sa)

to develop the shoulders and makes the shoulder joints supple.Deep inhalation also helps to expand the chest and is especiallyuseful for children, teenagers, and young men and women. It alsohelps to stretch the abdominal muscles, and it is beneficial to thosesuffering from respiratory ailments. After six to twelve breaths,exhale, bend at the elbows, lower your arms, and keep your palmsbehind the back of the neck, with your palms facing upward, yourelbows pointing outward, and your shoulder blades touching eachother. On inhalation, raise your arms, and on exhalation, lowerthem with good stretching of your neck and shoulder muscles.Repeat three to six times.

From parvat¡sana, exhale deeply and bend forward, touchingthe floor with your forehead and keeping your arms stretched out-ward. This is particularly good for those who suffer from constipa-tion and irregular or erratic peristalsis. It helps improve digestionand relieve flatulence. Yogis belonging to the ku∆∂alin• school of

yoga credit it with the awakening of ku∆∂alin•. Stay for a few breaths and thenreturn to parvat¡sana. Another variation requires placing the top of the head on thefloor instead of the forehead. From parvat¡sana, exhale, and, rolling your shouldersback, keep your palms behind you, about one foot away from your buttocks, leav-ing about one foot between them. Inhale, press your palms and knees, raise yourtrunk, and stretch your neck backward. This acts as a counterpose to yogamudr¡.The front portion of the torso is stretched, and the lower back also gets massaged.The wrists, elbows, arms, and neck get relieved of the slight pain encountered insuch postures as yogamudr¡, parvat¡sana, and so on. After about six breaths, exhaleand return to padm¡sana; if raising the trunk is done while exhaling, this is lang-hana kriy¡. From p¡rvat¡sana, slowly exhale, round your back, raise your knees abit, and completely lie down on your back, with arms stretched overhead and fin-


Parvat¡sana

Yogamudr¡ Yogamudr¡ (p¡r≈va)

gers interlocked, and the padmaportion (crossed legs) also onthe floor. Stay for a few breaths,doing m¶la and udd•y¡na band-has after exhalation. Exhale,lower your arms, and hold yourtoes. Try to stretch your spineand keep it on the floor; yourneck should also be stretched sothat your chin is not pointingupward but toward the chest.Close your eyes and do a fewbreaths. This is known as supta-padm¡sana (supta means “lyingdown”). Now place your palmson the floor by the sides of yourbody, press your palms, and on exhaling raise the padma portion up to about ninetydegrees and then, inhaling, return to suptapadm¡sana. Repeat the movements sixtimes. This helps to work on the lower hips and also helps to counter the ache onemay develop owing to the stretching of the back in suptapadm¡sana.

The posture ¶rdhvapadm¡sana, described in chapter 9, was included as a varia-tion of sarv¡©g¡sana. The same ¡sana can be done from suptapadm¡sana. Exhaleand raise your trunk as in sarv¡©g¡sana, but instead of your legs being straight, theyare in padm¡sana. Stay for a few breaths. To proceed to pi∆∂¡sana, return to par-vat¡sana and sit in padm¡sana. Extend your arms forward and place your palms onthe floor. Now exhale, raise your hips, and stand on your knees with the support ofyour palms. Flex your elbows and lie facedown, so that your entire body, with legsin padm¡sana, is on the ground. Now inhale, press your palms and knees, and raise


‡rdhvapadm¡sana Pi∆∂¡sana

Suptapadm¡sana Suptapadm¡sana (viny¡sa)

your trunk, stretching your arms, elbows, and shoulders. This isadhomukhapadm¡sana. Stay for a few breaths. Then, pressingyour palms and exhaling, slowly push your back and body so thatyou sit in padm¡sana, and then stretch your upper body forwardinto yogamudr¡. Inhale and raise your trunk back to parvat¡sana.

Padm¡sana and its variations can be practiced in a series andwas recommended by our ¡c¡rya to attain ¡sana siddhi and toderive the maximum benefit of each variation. It saves time andensures that one exercises all the parts of the body. Thisviny¡sakrama in padm¡sana can be done as follows:

01. padm¡sana02. parvat¡sana03. suptapadm¡sana04. ¶rdhvapadm¡sana05. pi∆∂¡sana06. parvat¡sana07. adhomukhapadm¡sana08. yogamudr¡09. ¶rdhvamukhapadm¡sana10. parvat¡sana11. padm¡sana

This series should be done a few times along withthe recommended breathing. Then repeat it, chang-ing the leg position. This group is exceptionally goodfor toning up all the usual stiff and stubborn joints,and makes knees, hips, and shoulders more flexible;


Gorakß¡sana

Adhomukhapadm¡sana

Adhomukhapadm¡sana (viny¡sa) ‡rdhvamukhapadm¡sana

it also improves stamina, circulation, and generalwell-being. It is a compact and a very useful group topractice for young men and women. There are anumber of other, more difficult variations. One ofthem is baddhapadm¡sana. It is described aspadm¡sanam in the Ha†hayogoprad•pik¡:

Vamor¶pari dakßinamCara∆am samsth¡pya v¡mam

tath¡.Dakßinor¶pari pa≈cimenavidhin¡Dhƒtv¡ kar¡bhy¡m dhƒ∂ham⁄©gußtau hƒdaye nidh¡yaCibukam n¡sagram¡lokayethYetat˙ vy¡dhivin¡≈ak¡r•Yam•n¡m padm¡sanam procyate.

“Place the right foot on the left thigh and the left foot on the right thigh, cross thehands behind the back [your own back, of course!], and firmly take hold of the toes[the right toe with the right hand and the left toe with the left hand]. Place the chinon the breastbone and gaze at the tip of the nose (n¡s¡gra). This is calledpadm¡sanam. It destroys diseases for the self-restrained yogis (yamis).”

Baddhapadm¡sana requires subtle control of the deep muscles of the shouldersand legs. It is a very deep-cleansing exercise that is exceptionally beneficial. If onecan stay in the posture, one can do long inhalations and exhala-tions. As noted by Sv¡tm¡r¡ma, and also by authorities like my¡c¡rya, it removes all diseases emanating from the stomach andabdominal region. Pregnant women should not practice this ¡sana.Padm¡sana, as mentioned before, is not merely an exquisite phys-ical posture, but also is believed to hold the key for proper medi-tation and the arousal of ku∆∂alin•. As the Ha†hayogaprad•pik¡puts it:

Staying well in padm¡sanam, with the palms placed on the lap,

fix the chin on the chest, and, contemplating (Brahman or iß†adevat¡) in the mind (citta), repeatedly raise the ap¡na upward

(by contracting the anus, which is m¶la bandha), and bring the

inhaled pr¡∆a downward (after inhalation). By this a man

obtains unequaled knowledge through the power of ku∆∂alin•(which is roused by this process).


Baddhapadm¡sana

Adhomukhapadm¡sana (viny¡sa)

It should be noted that as a further extension ofthe practice suggested earlier, the m¶la bandhastarted after b¡hya-kumbhaka is also maintained bysome on inhalation. And by means of m¶la bandhaand j¡landhara bandha, both the passage of thedown-going ap¡na and the up-going pr¡∆a aresealed, so to speak. Then by forcing the pr¡∆adownward and the ap¡na upward, the union ofap¡na and pr¡∆a is achieved. This is also referred toin the Bhagavad G•t¡. By the union of pr¡∆a andap¡na, the j¡†har¡gni (gastric activity) is aroused,and the mythical ku∆∂alin•, awakened by the heat of

the gastric fire, straightens out from its coiled position and moves upward in thesußum∆¡. The pr¡∆a and ap¡na are forced through the sußum∆¡, and the union ofthese two takes place, which is the ultimate goal of ha†hayoga. Suffice it to say thatpadm¡sana is an excellent posture for physical, physiological, and psychologicalwell-being as well as for mystical and spiritual experiences.

After a strenuous stint in the various padm¡sana variations, one may wish toenjoy the relaxation obtained by such exercises. ˛anmukh•mudr¡ helps in directingthe attention inward. It is also known as yonimudr¡. There are some schools that-state that it is also known as s¡mbhav•mudr¡.

Sit in padm¡sana or another convenient posture like siddh¡sana—vajr¡sanamay also be chosen—but padm¡sana appears to be the best. Keep your back erectand head level, without the j¡landhara bandha. Raise your arms, keeping your

elbows at shoulder level. Close your ears with your thumbs andplace your forefingers and middle fingers over your closed eyelids,the forefinger above and the middle finger below the position ofthe eyeballs. You should not press the eyes hard, but maintain avery mild pressure so that it is barely felt. Your ring fingers shouldpartially close your nostrils and your little fingers are kept at theside of your closed mouth. The attention is directed toward themiddle of the eyebrows. One may follow the breath. Stay for aboutfive minutes. This is a very relaxing procedure and may beadopted after a strenuous day’s work, or even before starting orafter pr¡∆¡y¡ma. Since the senses are under control, it helps tocalm the mind, especially when practiced in a noiseless, cleanplace devoid of unpleasant odors and other distractions. It is agood exercise for praty¡h¡ra, or cleansing the senses by with-drawing them and directing them inward. In fact, it is consideredone of the methods of praty¡h¡ra.


Yogamudr¡ (viny¡sa)

˛anmukh•mudr¡ in padm¡sana

Whether it is ≈•rß¡sana, sarv¡©g¡sana, or sitting postures such as padm¡sana,after considerable practice the body adjusts to the different positions and a certaindelightful feeling starts flowing. It manifests as a slow rhythmic breathing and indi-cates perfection in the posture (¡sana siddhi). The beneficial effects mentioned by¡c¡ryas and ancient yoga texts then start accruing. The capacity to stay comfortablyand steadily in a posture should be acquired, for then pr¡∆¡y¡ma and dhy¡nabecome easier, and beneficial. For the purpose of more intimate practices likepr¡∆¡y¡ma and the antara©ga s¡dhana, such as meditation on one’s iß†a devat¡,certain specific sitting ¡sanas are normally practiced.

Padm¡sana with its viny¡sas has been described. A few more important sit-ting—or, as they are more commonly known among modern yoga practitioners,“meditative”—postures will now be taken up. The first, siddh¡sana, likepadm¡sana, is equally well known and practiced. Texts like the Ghera∆∂a Saµhit¡,the ˛iva Saµhit¡, the Ha†hayogaprad•pik¡, and others refer to siddh¡sana as animportant one. There are, however, slight variations in the practice of this ¡sana,and many texts refer to them as well.

Start with samasthiti. Inhale, raising your arms overhead; exhale, and doutka†¡sana. Then, keeping your palms by the side of your buttocks, squat, and,inhaling, stretch your legs straight, keeping your knees and ankles together. This isthe starting point of all sitting postures and is known as da∆∂¡sana.

On the exhale, spread your left leg and flex the knee, keeping the heel on theyoniß†h¡na. Stretch your ankle, keeping your toes pointing outward and your heelalong the groin and thigh. On the next exhalation, in a similar fashion, bend your rightknee and keep your right ankle on top of your outstretched left ankle, so that your rightheel is on top of your generative organs and pressing against thepubis. Your right lateral malleolus should be between your leftmedial malleolus and heel. Then, keeping your back straight, youshould close your eyes and direct your attention toward the middleof the eyebrows. The ˛iva Saµhit¡ recommends pavan¡bhy¡sa, orthe practice of pr¡∆¡y¡ma, in this posture, and according to it, Lord˛iva’s instruction to P¡rvati is that there is no posture more poten-tially beneficial than this one. Since one has to practice pr¡∆¡y¡maand meditation in siddh¡sana, naturally the m¶la, udd•y¡na, andj¡landhara bandhas can all be practiced in this posture. M¶la bandhais helped by the pressure on the yoniß†h¡na, which is actually the per-ineum. In his commentary on Ha†hayogaprad•pik¡, Brahm¡nandarefers to yoniß†h¡na as gudhaupasthayo˙madhyam, “the placebetween the rectum and the generative organs,” in which place is theperineum. This posture is comparatively easy for some who mayhave difficulty with padm¡sana, and since there is pressure on the


Siddh¡sana with three bandhas

pubic region and rectum, it evidently works on ku∆∂alin•. Morespecifically, siddh¡sana helps in the early stages of hemorrhoids andimproves circulation in the knees, lower back, and abdomen. Withpractice, the stubborn sacroiliac joint becomes more flexible. Aftersome time, it is refreshingly relaxing.

Another sitting posture is gomukh¡sana, or cow-faced posture.Start with the initial sitting position. Exhale and place your leftoutstretched ankle by the side of your left buttock. On the nextexhalation, keep your right ankle by the side of your left buttock.Then, keeping your palms on your heels and slowly pressing, raiseyour buttocks and adjust the position of your knees so that one isexactly over the other. Stay for a few breaths and repeat on theother side. The disposition of the limbs resembles the face of a cow(gomukhasya akriti). The two knees with the gap in betweenresemble the mouth, the shin, the side of the face; and the feet, theears. The chin is kept in j¡landhara bandha. As a variation, raise

one arm over your head and, bending your elbow, lower your forearm onto yourback between the shoulders. Your other arm is lowered, elbow bent, forearm raisedup. Clasp the fingers of the downward hand with those of the other hand. Repeat onthe other side. You may stay for a few breaths. People who have disproportionatelyheavy thighs and buttocks may attempt to practice gomukh¡sana and derive greatadvantage. The normally dormant group of muscles in the lower back and buttocks,such as the gluteus and iliac are well stretched and get a good blood supply. Oneattains a certain measure of sphincteric control with this posture as well. Menshould practice it carefully, especially while crossing the legs (in the initial stages),to avoid any pressure on the scrotum.

How many ¡sanas are there? There are different answers even among theancient yoga exponents. According to the Ghera∆∂a Saµhit¡, there are as many

¡sanas as there are animal species, and the authorproceeds to state that, according to Lord ˛iva, thereare eighty-four thousand ¡sanas, of which, accord-ing to him, eighty-four are the best and thirty-twothe most beneficial.

In addition to ¡sanas that resemble variousspecies of animals, there are ¡sanas that resembleother things such as a lotus (padma), mountain (par-vata), and a stick (da∆∂a), as well as a desk (dvip¡dapitha), a table (catußp¡dap•†ham), and so on. Fur-ther, there are ¡sanas whose names derive purelyfrom the positions of the limbs and organs or the


Gomukh¡sana

Ardhapadm¡sana (viny¡sa)

effect they have on the system,such as ja†haraparivƒtti (activat-ing the stomach) and pa≈cima-utt¡na (posterior stretching).Then there are the classical¡sanas based on the names ofthe ƒßis who are supposed tohave discovered and perhapsused them for tapas. Examplesinclude bharadv¡j¡sana, vasiß†h-¡sana, d¶rv¡s¡sana, kapil¡sana,buddh¡sana, and vi≈v¡-mitr¡sana. Then there are¡sanas named after theavat¡ras of the trim¶rtis andother gods. These include, forexample, trivikram¡sana, skand-¡sana, bhairav¡sana, v•rab-hadr¡sana, yoganarasiµh¡sana,and na†ar¡j¡sana. Additionally,if the various viny¡sas are con-sidered, one can appreciate theamount and scope of theresearch the ancients have donein the domain of the physicaland how they brought thisunderstanding to perfection.One group of ƒßis practiced anddeveloped yoga as an art. Justas a sculptor takes an otherwiseformless stone and converts itinto a beautiful work of art, theyogi used his own body andmade it a beautiful, well-sculpted, perfect, live object. Approaching yoga, even ononly a physical level, can be highly satisfying, matching any other art in its content,complexity, and divinity.

Siµh¡sana is another important sitting posture, derived from observing a lionwaiting for its prey and with its tongue hanging out. Start by sitting erect and keep-ing your legs stretched in front. Exhale, and put each of your heels below the oppo-site thigh, that is, your left heel below the right thigh and your right heel below the


Siµh¡sana (position) Siµh¡sana (rear view)

Siµh¡sana Siµh¡sana (with dƒß†i and nobandhas)

left, just to the side of the scrotum. You should actually be sittingon your heels, with your ankles stretched and your shins on thefloor. Keep your palms on their respective knees, with your fingersstretched and slightly apart. Open your mouth, stretching your jaw,and hang your tongue out as much as possible—exposing thethroat, as it were. With open eyes, squint slightly and look at thetop of your nose (n¡s¡gra). Breathe through your mouth for awhile. According to Sv¡tm¡r¡ma, this posture will also be helpfulin mastering the three bandhas. This is true because in postures inwhich one is seated with buttocks on the ground, the anal musclesare not free to move; whereas in this case, since one sits elevated,as it were, on the heels, the m¶la bandha is easier to do. One inci-dental advantage of this posture is that it helps in ventilating theoral and throat regions that harbor bacteria. One of the causes ofbad breath is that the throat region is generally not kept clean.While danta≈uddhi (cleaning the teeth) keeps out bad breath, this

aeration of the throat region will help oral hygiene to a greater extent. It should alsobe noted that from the rectum up to the tip of the tongue, the entire alimentary sys-tem is pulled up, as it were, providing a good tonic effect on the whole digestive sys-tem. Certain schools refer to this ¡sana as yoganarasiµh¡sana. Other variations ofsiµh¡sana are to stay in adhomukhapadm¡sana, stretch the tongue out, and directthe visual attention to the n¡s¡gra. It resembles a lion ready to pounce on its prey.

The ƒßi Bharadv¡ja is well known and said to be the father of Dron¡c¡rya. Thereare many others who belong to the great sage’s gotra (lineage). The Bharadv¡jagroup of ¡sanas basically require the twisting of the trunk in one direction and theneck and head in the opposite direction, giving a tremendous toning effect to thespine because of the torsion. The well-known posture named for this sage is a sit-ting one. Start with da∆∂¡sana. Exhaling, flex your left knee and keep your ankleclose and alongside your left thigh with your stretched ankles on the floor, just as inv•r¡sana. Exhaling, bend your right knee and place your right ankle on your leftthigh, high up. Sit straight with both buttocks on the floor. Now slowly exhale, holdthe big toe of your right foot with the fingers of your right hand from behind. Inhaleand raise your left hand; exhale and bend forward. Inhale again, raise your trunk tothe erect sitting position, and, on exhaling, keep your left palm fully on the floorbetween your knee and buttocks, fingers turned inward and below the thigh, thenturn your head to the left and look over your left shoulder. Close your eyes and dolong inhalations and exhalations, stretching and twisting the spine a little more oneach exhalation. Repeat on the other side. This is bharadv¡j¡sana. Another varia-tion would require sitting in parvat¡sana. Exhaling, twist to one side keeping yourinterlocked palms on the floor near your thigh between your knee and buttock.


Narasiµh¡sana

Exhale and turn your head over to the other side. This ¡sana combines the advan-tages of v•r¡sana and padm¡sana and helps to twist the spine, thus making it sup-ple. The cervical and lumbar regions and the small back muscles are all stretched.

Mudr¡s©

Mudr¡s involve contracting a group of muscles, which also include the bandhas. Wehave already discussed some mudr¡s such as tat¡kamudr¡, ≈a∆mukh•mudr¡, andyogamudr¡, and also m¶la, j¡landhara, and udd•y¡na, the three famous bandhas.The mudr¡s should also be practiced and, with pr¡∆¡y¡ma, are very important inha†hayoga. Sage Ghera∆∂a refers to twenty-five such mudr¡s. For one of them hesays, Akuncayeth gudhadhv¡ram praka≈ayeth punafpuna˙ sa bhavet a≈vin•mudr¡≈aktiprabodhak¡rin•: “Contracting and dilating the anal aperture—as a horse(a≈vin•) does—in any posture in which it is convenient is called a≈vin•mudr¡. Thisis said to give one energy.”

Many of the ¡sanas, bandhas, and mudr¡s stress the importance of keeping themuscles and n¡∂•s of the lower part (m¶la) of the body in good tone. According toyogic theory, many important n¡∂•s are situated in the anal and pelvic region, andhence it is repeatedly stressed that one keep that area in good shape. Further, it isthe area of the sex glands (prostate, uterus, ovaries) as well, and good muscle toneis especially essential to proper functioning. Without these ¡sanas, bandhas, andmudr¡s, these areas are neverexercised. People equate yogaand other forms of physicalexercise and say that yoga is asgood or as bad as other games,sports, or exercises. One has toappreciate the extent to whichminute muscles and n¡∂•s areattended to in yoga, whichrequires enormous concentra-tion and self-control. The yogaof our ancestors attempted toperfect the human physical sys-tem, so that whatever is best inthe physical realm was achievedand experienced in full measure.A≈vin•mudr¡ can be practiced as


Siµh¡sana (viny¡sa) Bharadvaj¡sana

a prelude to achieving perfection in m¶la bandha. Itcan be learned while in certain ¡sanas such assarv¡©g¡sana and ≈•rß¡sana, among others.

Mah¡mudr¡ is referred to in almost all the yogatexts, including the ˛iva Saµhit¡, the Ghera∆∂aSaµhit¡, the Ha†hayogaprad•pik¡, the Dhy¡nabindUpanißad of Kƒß∆a Yajur Veda, and the Yoga Cud-amani Upanißad of the S¡ma Veda. According toour ¡c¡rya, this mudr¡ should be included in one’sdaily practice of yoga.

Start with your legs outstretched. Press your per-ineum (yoni) with the left heel; your knee should be

bent and pushed away to the side at about ninety degrees to yourbody. The sole of your left foot should be flush with your rightthigh. Pressing the perineum, exhale and, keeping your backstraight, hold the big toe of your right foot with both hands. Lockyour chin for j¡landhara bandha and practice the other bandhas onexhalation. Repeat for a few breaths. Change legs and repeat onthe other side. According to the Ha†hayogaprad•pik¡, mah¡mudr¡helps overcome such maladies as tuberculosis, leprosy, constipa-tion, abdominal diseases, and indigestion. Specifically, it helpstone up the pelvic organs. It is especially important for gynecolog-ical problems such as prolapse and incontinence.

Next is mah¡ bandha. Start with your legs outstretched.Exhale, bend your left knee, and sit on your heel, the heel press-ing and closing the anus. On the next exhalation, keep your rightfoot on your left thigh, as in padm¡sana. Keep your palms on yourknees and practice the m¶la, udd•y¡na, and j¡landhara bandhas.This is a good posture for the practice of pr¡∆¡y¡ma with the band-

has. As in siµh¡sana, the arms are free, and m¶la bandha becomes more effectivewith the pressure of the heel. Repeat on the other side. The arm position in a salut-ing gesture on the back can be attempted in many other postures, such aspadm¡sana, though it is not specific to mah¡ bandha. If ¡sanas are practiced withbandhas, mudr¡s, viny¡sas, proper breathing, and pr¡∆¡y¡ma, it is better to do sounder proper guidance. This has been the traditional approach for study of the≈¡stras in India.

In the Dar≈ana Upanißad, which belongs to the S¡ma Veda, the last ¡sana referredto is sukh¡sana. It is recommended for those who cannot do difficult ¡sanas but whoare interested in other yogic practices such as pr¡∆¡y¡ma: Yena kena prak¡rena,Sukham dhairyam ca jayate, Tat Sukh¡sanam Ithyuktam, Asaktastat Sam¡≈rayeth


Mah¡ bandha with pƒß†anjali

Mah¡mudr¡

(“In whatever way [posture] one attains comfort and steadiness, this is calledsukh¡sanam. That should be adopted by the infirm for practice of pr¡∆¡y¡ma.”

Vajr¡sana©

Of the many sitting postures, vajr¡sana is comparatively easy to do and combinesgrace and poise. It is a good posture for pr¡∆¡y¡ma and meditation and, when per-formed with synchronous breathing and movements (viny¡sas), it works on differ-ent joints and muscles and also helps to relax them.

Use a thick (1/8") carpet folded in two; the seat should be neither too hard nor toosoft. Start from samasthiti. Inhale, raise your arms overhead, interlock your fingers,and turn them outward. Exhale, raise your heels, bend your knees, and come down,landing on your knees and sitting on your heels. Exhale, lower your arms, and placeyour palms on your bent knees. Sit, bending your legs, with knees, shins, and anklestogether and stretched toes pointing outward so that you sit on your heels with yourshins on the floor. Keep your palms on your knees and stretch your back. Stretch theback of your neck and place your chin a couple of inches below your neck. Throwyour shoulders back a little so that the shoulder blades come closer together and forma canal along the spinal column. This is vajr¡sana. The chin lock, j¡landhara bandha,helps partially close the glottis and thus helps control the breathing.

Now let us see further movements and variations (viny¡sas) of vajr¡sana. Inter-lock the fingers of both hands and turn them out. Inhaling, raise your body and your


Pa∂¡sanaSamasthiti Ardha-utka†¡sana

arms overhead. While youinhale, the chin lock will pro-duce a hissing sound in thethroat with the partial closing ofthe glottis. The period of inhala-tion and the movement of thetrunk and arms should synchro-nize. On completion of theinhalation, you will be on yourknees and the front portion ofyour legs. Stay for two or threeseconds, holding the breath in.As you exhale, return to theoriginal seated position. Nowseated in vajr¡sana, raise yourarms on inhalation. Stay for afew seconds. On exhalation,flex at the elbows, loweringyour hands to the back of yourneck. Repeat three times. Thenext viny¡sa requires sitting onyour heels, but bending forwardso that your face touches thefloor; your arms are stillstretched outward. This move-ment—which is to be done onexhalation—should be avoidedby pregnant women.

Now let us consider a coun-terpose for this forward move-ment. Exhaling, lean slightlyback and keep your palms onthe floor about one foot behind

your legs and about one foot apart. Inhale, press your palms and the entire portionof your legs touching the floor, as well as your ankles and knees, and raise yourtrunk, stretching your neck and throwing your head backward. Exhale and return tothe original position. Repeat about three times. Those who are obese may do theabove movement of raising the trunk on exhalation, which is then called langhanakriy¡. Return to the original position on inhalation. Pregnant women may do thismovement. Those with high blood pressure need not drop the head back. An


Vajr¡sana (preparation) Vajr¡sana

Vajr¡sana (viny¡sa) Vajr¡sana with three bandhas

advanced vajr¡sana variation would require the practitioner to spread the anklesabout eighteen inches apart and sit between the ankles and heels, instead of onthem as earlier; this variation is known as v•r¡sana. V•r¡sana has many viny¡sas,including parya©k¡sana (couch posture), variations of bharadv¡j¡sana, and a hostof others.

Now inhale, raise your arms, interlock your fingers and turn them outward, andraise your trunk, sitting on the shins. Exhale, and on the next inhalation arch yourback and push your hips for-ward, and with cupped hands,bend further down and holdyour heels from above. This iscalled uß†r¡sana, or camel pos-ture. You can stay for a fewbreaths, arching your back andpushing your hips forward oneach inhalation. Then, as youinhale, arch your back furtherand, pushing your hips, placeyour head between your heels,as you press your heels withyour palms. Then, as youinhale, stretch both arms for-ward and hold your knees. This


Vajr¡sana (viny¡sa)

Vajr¡sana Vajr¡sana (forward bend)

Vajr¡sana (forward bend viny¡sa) Another viny¡sa


Vajr¡sana (viny¡sa) Forward bend with stomach lock ˛a∆mukh•mudr¡

V•r¡sana (preparation) V•r¡sana (preparation of legs)

Vajr¡sana pratikriy¡

posture is called kapot¡sana, or pigeon posture, as the ¡sana resembles the exag-gerated forward curvature of a pigeon’s chest. It makes the spine supple and isbelieved to raise ku∆∂alin•.

Vajr¡sana is very relaxing. Because of the stretching of the ankles and the frontportion of the knees, it gives relief to those who are prone to rheumatism or who suf-fer from gout. Asthmatics have been found to respond well, especially to forward andback bending. Pregnant women will find that the trunk raising helps relieve the per-sistent lower-back pain and also strengthens the perineal muscles. It should be noted


V•r¡sana V•r¡sana (rear view) V•r¡sana (forward bend, preparation)

Parya©k¡sana V•r¡sana (forward bend)

that the postures and movements are done with a breathing pattern. Breath is the linkbetween body and mind. With proper breathing in ¡sanas, according to our ¡c¡rya’spaddhati, one develops good mind-body coordination and control.

Balancing Postures©

Apart from the many groups of ¡sanas discussed so far, some requiring good bal-ance merit attention. These postures help to develop one’s sense of balance, correctdisproportions in the body, and give the abhy¡s• a tremendous sense of self-confi-


Ußtr¡sana Ußtr¡sana (viny¡sa) preparation

Forward bendPreparation for forward bend

dence. Children love to do manyof them. Some of them resemblegymnastic movements, but inyoga, as always, the movementsshould be done with correspond-ing breathing patterns. Amongthe balancing postures there arethose that require balancing onone foot, on one hand and onefoot, or on both hands. Balanc-ing on the hands is usuallycalled utpluti, and this can betried in almost all of the sittingpostures. Balancing ¡sanas alsoinclude inverted postures. Theserequire strongarms (sthairya) aswell as supple-ness of the limbsand joints(a©gal¡ghava).Starting witht¡∂¡sana, manybalancing pos-tures are possiblethat depend uponthe position of oneof the legs, (theother foot is kepton the floor).Standing int¡∂¡sana, exhale,stretch your rightleg forward, andhold the big toewith the fingers ofyour right hand.Keep your lefthand on your hip.Keep both knees


Kapot¡sana

Ußtr¡sana (advanced)Ußtr¡sana (p¶rva) preparation

Ußtr¡sana (full stretch)

Kapot¡sana (nir¡lamba)

stretched and maintain balance for a few breaths. Now stretch your other arm andhold your right foot. Exhale and raise it still further. The final position requires youto stretch your spine and bend forward on exhalation, so as to keep your forehead,nose, or chin on your right knee. After some practice, you may stay in the posturefor a few breaths, maintaining your balance, of course. These one-legged ¡sanas canalso be considered part of the group of standing postures. It is possible that one maylose one’s balance in the initial stages, while raising the leg. In this case, one maybend the knee, hold the big toe with the fingers, and keep the other hand on the hipand stretch the knee. Alternately, one may keep the leg stretched and keep the heelon a raised platform or table and then raise the leg off the table. This gives strengthto the hip and the leg muscles and gives one steadiness and poise. This posture isknown as utthitap¡d¡©guß†h¡sana.

There is yet another interesting way of attaining this posture, but it requires theyog¡bhy¡s• to have supple joints and a better sense of balance. From t¡∂¡sana, pro-ceed to utka†¡sana. Staying in that posture, exhale, keep your left hand on your hipand stretch your right leg, and hold your big toe with the fingers of your right hand.Now inhale, rise up, and keep your right leg stretched, but without flexing your rightknee.

Another balancing posture is ardhabaddhapadma-utt¡n¡sana. Starting fromt¡∂¡sana, exhale, bend your right leg, and place your foot at the top of your leftthigh. Inhale, raise your right arm, and then, exhaling, from behind hold the big toeof your right foot with the fingers of your right hand. Stay for a few breaths. Exhale,bend forward, and, keeping your left palm on the floor by the side of your left foot,place your forehead on your stretched knee. The added requirement in this postureis that one has to stand on one foot and do the movements without falling. This pos-ture helps in strengthening the shoulders; it also opens up the chest and thus facili-tates free breathing. The pressure of the heel on the abdomen helps abdominal andpelvic organs and muscles.

There are many other postures that require balancing on one foot. Garu∂¡sanarequires keeping one leg encircling the other, straight leg right from the groin.Keeping one foot on the inside of the thigh with the corresponding knee bent and ata right angle to the straight leg is called vƒkß¡sana, or tree pose, especially whenthe arms are also raised overhead and the palms kept together. Keeping the rightleg in padm¡sana, on exhalation bend the left knee so that the right knee is kept onthe floor, still maintaining balance. In this position, the left foot and the right kneeare on the ground. This is called v¡t¡yan¡sana. All these require considerable con-centration but bestow grace, poise, and stability to the abhy¡s•. Other ¡sanas, suchas na†ar¡j¡sana, are more complicated ones in the same group of postures. ⁄sanasrequiring one to balance on one foot and one palm help to stretch and tone up theside muscles (p¡r≈va). They are also helpful in strengthening the arms and giving


greater flexibility to the hipjoints. Another group of ¡sanas,beginning with vasiß†h¡sana,requires balancing as well.

Proceed from catura©ga-da∆∂¡sana, explained in chapter7. Start with t¡∂¡sana. Exhaling,proceed to utka†¡sana. Then, onthe next exhalation, place yourpalms to the sides of your feet.Then, holding the breath, jumpback to catura©gada∆∂¡sana. Onthe next exhalation, raise yourhips in adhomukha≈v¡n-¡sana,but slowly tilt your body to oneside, with your right palm andthe outside of your right leg on the floor. Keep yourleft arm by your body. On the next exhalation, pressyour right palm and arch your body further so thatboth feet are on the floor. Inhale, raise your left arm,and look up. This is vasiß†h¡sana. This ¡sana, attrib-uted to the great sage Vasiß†ha, apart from strength-ening the hips, helps the lumbar region, the ratherstubborn coccyx, and the entire cervical region. Stayfor a few breaths. There are interesting variationspossible in this posture. For one, exhale, remainingin vasiß†h¡sana; then bend your left knee, hold yourbig toe with the fingers of your left hand, and stretchit up. Bend your left knee on exhalation and keep iton the top of the right thigh. Exhale, balancing onyour palm and leg, and hold the big toe of your leftfoot with the fingers of your left hand from behind.Inhale, press your palm and foot and raise your hipsand trunk, and look up. This is ka≈yap-¡sana, animportant and difficult variation of the simplervasiß†h¡sana. The shoulders and especially thesacral region are benefited. There are a number ofvariations on this kind of balancing that includevi≈v¡mitr¡sana and kapiñjal¡sana. These alsorequire balancing on one hand and one leg.

Vasiß†h¡sana (preparation)Tol¡©gul¡sana

Vasiß†h¡sana

Vasiß†h¡sana (preparation)

Padm¡sana and Other Postures for Yoga S¡dhana 187 C

Balancing on both hands is fascinating to anyoneinterested in physical culture. Gymnasts and othersmake use of this with telling effect. To yogis doingthis on the floor, the variations are far too many. Asnoted previously, in almost any sitting posture thepalms may be placed on the floor and the bodyraised up, which is called utpluti. Perhaps the mostcommon utpluti is raising the body while inpadm¡sana. Sit in padm¡sana. Exhale, place yourpalms on the floor, hold your breath, and raise thebody by about four a©gula (finger widths), which isknown as tol¡©gul¡sana. Swinging to and fro, whichchildren enjoy, is called lol¡sana. While balancingon the palms, one may twist the body to one sidebeyond the base and by the side of one arm, whichis known as p¡r≈va-utt¡nakukkut¡sana. There are ofcourse different starting points for these ¡sanas; onemay start from ≈•rß¡sana or ¶rdhvapadm¡sana andproceed to the balancing postures. Utpluti may alsobe attempted in pa≈cimat¡n¡sana, siµh¡sana,vajr¡sana, and so on.

In raising the body, there are a number of varia-tions. Many can be done, interestingly enough, from≈•rß¡sana when one presses and balances the weightof the body with the hands, thus enabling the headto be lifted. One interesting but simple posture isbhujap•∂¡sana. Place your palms with your feet onthe floor. Press your palms, spread your knees, andraise your feet, balancing on your palms. There arefurther variations. This simple balancing posturehelps strengthen the wrists, and one tends to feellighter over the course of time. Upaviß†hako∆¡sana,done with the legs spread more than 90 degrees(from da∆∂¡sana), gives rise to several viny¡sas, allof which help to make the hip joint supple andstrengthen the pelvic and lower-back muscles.


Bhujap•∂¡sana (viny¡sa)

Bhujap•∂¡sana (viny¡sa)

Bhujap•∂¡sana

13Yogic Breathing Exercises and Their Health Benefits

HAVING DESCRIBED SOME IMPORTANT GROUPS of ¡sanas, such aspadm¡sana, sarv¡©g¡sana, and triko∆¡sana, it is perhaps time (although a few moreuseful and well-known ¡sana groups will be taken up later) to discuss in more detailthe next step in yoga, pr¡∆¡y¡ma. Patañjali places pr¡∆¡y¡ma next to ¡sana, butauthors of ha†hayoga texts, even as they follow the same outline, recommend otherpurifying practices before the kumbhaka, or breath-holding, pr¡∆¡yamas are takenup. Six such practices, known as sat-kriy¡s, are mentioned by Sv¡tm¡r¡ma in hisHa†hayogaprad•pik¡. These are not obligatory exercises, even according toha†hayogis, but are recommended for those who are obese and phlegmatic and arenot for those whose v¡ta, pitta, and kapha are perfectly balanced.

The six practices are dhouti (stomach wash), vasti (colon wash), neti (nasalwash), tr¡takam (gazing), nauli (stomach churn), and kap¡labh¡ti (skull polishing).Of these the first three, which use water, cloth, or other external agencies, were notrecommended or encouraged in the system in which I was trained. Tr¡taka, whichis a good exercise for the eyes, nauli, which is for the lower abdomen, andkap¡labh¡ti, which is primarily for the respiratory system, are, however, frequentlyused by many abhy¡s•s. None of these three practices introduces external aids intothe system, and none is as displeasing as the first three kriy¡s. Kap¡labh¡ti is mostbeneficial in preparing one for pr¡∆¡y¡ma; it purifies the pr¡∆amayako≈a just as

¡sanas purify the annamayako≈a. Kap¡labh¡ti is made up of two words, kap¡la,meaning “skull” and implying the entire head, and bh¡ti, “that which makes itshine.” Thus one who practices kap¡labh¡ti feels rejuvenation in the head and grad-ually finds his face attaining some luster. These cleansing procedures help to rid thesystem of all the doßas, and pr¡∆¡y¡ma siddhi accrues without undue effort.

Kap¡labh¡ti©

Even though kap¡labh¡ti is not a pr¡∆¡y¡ma in the orthodox system, it works thor-oughly on the respiratory equipment. Hence, just as for pr¡∆¡y¡ma, one shouldchoose a place to practice that is free from noise and other atmospheric pollutantssuch as dust, dirt, and unpleasant odors. A good workout in ¡sana practice, whichshould be well planned to include movement of all the parts and joints of the body,should come first. A good workout includes a judicious combination of ¡sanas andtheir viny¡sas and a little rest. Then one should sit comfortably in padm¡sana oranother sitting posture. It has been found that padm¡sana is among the best forkap¡labh¡ti. Since the exercise is a highly dynamic one, it is better to choose a pos-ture that can be maintained in the midst of vigorous activity involving the abdomi-nal muscles. Padm¡sana, with its interlocking of the legs, provides a firm base andenables one to keep the lower extremities under good control. For those who havetrouble getting into correct padm¡sana, another sitting posture like vajr¡sana orv•r¡sana may be chosen.

Sit in padm¡sana. Place your palms on your knees. Slightlybend your head forward as in j¡landhara bandha, but do not con-strict the glottis. After a few normal breaths, inhale and exhalequickly in succession about twenty-four times (or less, dependingupon one’s capacity). The breathing should be of the abdominal ordiaphragmatic type and should be done through the nose. Theabdominal muscles can contract quite vigorously and rapidly. Witheach stroke the viscera are drawn in and pressed, and thediaphragm is pushed up. As soon as the vigorous exhalation isover, the abdominal muscles relax and the abdominal visceracome down to their original position. Simultaneously, thediaphragm also comes down, creating a partial vacuum in thechest cavity, and the external air enters the lungs automatically.The active part of kap¡labh¡ti is the expulsion of air, and one’sinhalations are almost imperceptible. Then immediately followingthe first round, begin a second one by contracting the abdominal

C 190 Yogic Breathing Exercises and Their Health Benefits

Kap¡labh¡ti in padm¡sana

muscles and rapidly inhaling and expelling air. Again, twenty-four repetitions is agood beginning number.

Kap¡labh¡ti is primarily an exercise of the viscera and diaphragm. It may benoted in practice that even though this is a breathing exercise, the movement of thechest wall is negligible. The intercostal muscles, in fact, are kept mildly contractedthroughout and the slight inhalation is made possible only by the mobility of thediaphragm. This can easily be verified in practice, and, in fact, could be used as acheck to see if one is doing it correctly. The inhalation (p¶raka) is done silently andwithout effort, as distinct from the deep breathing involving deliberate expansion ofthe chest and the stretching of intercostal muscles. The expiration (recaka) is donewith considerable effort at contracting and drawing in the abdominal muscles. Nec-essarily, therefore, when the air is forced out through the nostrils, a noise is pro-duced resembling that of a bellows. In the Ha†hayogaprad•pik¡, Sv¡tm¡r¡mahimself indicates this fact: Bhastravat lohak¡rasya recap¶ram sasambhrame.Kap¡labh¡t•ƒk-hy¡ta kaphadosa vin¡≈in• (“Practice exhalation and inhalationrapidly [repeatedly like a blacksmith’s bellows.] It is called kap¡labh¡ti, whichdestroys doßa of kapha [respiratory or phlegmatic]”). Since the p¶raka is slow andimperceptibly soft, the exercise appears to be just a series of vigorous exhalations.

The depth of exhalation is more than normal, but it is not as much as in deepbreathing or pr¡∆¡y¡ma. The volume of air expelled is reasonably high, but is muchless for women and those with emphysema.

There are four aspects to be looked into in kap¡labh¡ti:

1. The intensity of exhalation refers to the force of expulsion and is primarily afunction of the strength of the abdominal muscles, provided the respiratorysystem can withstand the intensity.

2. The speed is the time taken for completing one exhalation and inhalation.Intensity and speed are complementary, and their particular combinationshould be found by trial and error by each abhy¡s•. Speed at the cost ofintensity should be avoided, but so should proceeding too slowly. In theinitial stages of practice, some may experience bouts of coughing ordevelop cramps in the stomach. In fact, in any group that starts this exer-cise, one finds that at least one-fourth of its members start coughing vio-lently after a few attempts. Progress is slow and halting at the outset. Inaddition, those with excessive phlegm in their respiratory systems, whichmay be expelled during the practice, will have necessarily to stop in themiddle. Certain asthmatics who have not been prepared well by prelimi-nary yog¡sanas may experience a bout of coughing, which may even pre-cipitate bronchial constriction. It should be noted, however, thatkap¡labh¡ti, introduced at the proper time, is for an asthmatic highly

Yogic Breathing Exercises and Their Health Benefits 191 D

beneficial and is actually one of the important aids in treating asthma.3. The frequency or number of times one does kap¡labh¡ti at one stretch varies

from person to person. In the initial stages one may not be able to do it morethan ten or twenty-four times; with practice, though, a few hundred timesbecomes possible. Gasping for breath in the initial stages restricts the fre-quency. But later on, as one is more relaxed and develops one’s secondwind (improved stamina), one may continue until one feels a pleasantexhaustion or fatigue. When one’s abdominal muscles are strong enough,and with increased practice, not only the abdominal muscles but also thepelvic and rectal muscles come into play. It is not necessary to practice m¶labandha to facilitate expulsion, but some find it useful to contract the rectalmuscles. For the majority, use of the pelvic diaphragm and rectum becomesalmost automatic. There are a few who prefer mah¡ bandha for doingkap¡labh¡ti, since the gluteal muscles are raised and the rectum is pressedby the heel, thus facilitating a more conscious involvement of these muscles.Those with a weak abdominal wall should not attempt this without clearancefrom a doctor or therapist. One should consider the possibility of inducing ahernia.

The intensity, speed, and frequency for a round of kap¡labh¡ti should bedetermined by the practitioner and improved upon gradually. There shouldbe no violent jerking of either the chest, shoulders, or head. Some attempt toconstrict the nostrils to produce a distinctive sound, but the expelled air isallowed to escape freely through the glottis (no constriction there, please)and passes smoothly (though the nasal passage) to the end of the nostrilsanyway. When the nostrils are not constricted, they themselves open out abit to facilitate the passage of expelled air. Hence it is neither necessary nordesirable to try to control either of the nostrils or to indulge in facial contor-tions to regulate the passage of the air. Anyone who “makes faces” whiledoing kap¡labh¡ti is not doing a good job of it. The air should be allowedsmooth passage on its way out. Of course it does produce some friction atthe lower ends of the nostrils, but it does not create any problems. Oneshould be careful not to constrict the upper portion of the nose, so that thereis no friction in the delicate parts of the mucous membranes lining the nasalpassages. Those suffering from acute rhinitis or sinusitis should not dokap¡labh¡ti during the period of acute nasal blockage; if kap¡labh¡ti is doneregularly, however, nasal blockage itself most likely will be prevented. Thenormal speed of doing kap¡labh¡ti is about two per second. One may start athalf that pace in the beginning. Eighty to 120 per minute is quite satisfactory.

4. The number of times per sitting, that is, a round of kap¡labh¡ti, should befollowed by pr¡∆¡y¡ma, but mere long inhalation and exhalation should suf-


fice between rounds of kap¡labh¡ti. This may be done for a minute or sobefore the next round is started. It will be good to do about three rounds persitting, interspersed with a few rounds of long inhalation and exhalation.Those who have learned some pr¡∆¡y¡ma, such as ujj¡y• or n¡∂• ≈odhana,may practice these after kap¡labh¡ti, but more on those later.

Kap¡labh¡ti should be attempted only with guidance from a teacher. Those suf-fering from hernia, acute rhinitis, or earache should not attempt this practice. Asth-matics should do it only under supervision. They will observe that a cough developstoward the end of each round; the phlegm should be spat out. In most cases thecough subsides, but if it continues, after a few days’ practice it will abate. It is saidthat passage of air over the mucous membrane of the air passages could act as aninhibitory stimulus. In kap¡labh¡ti the ratio of time for expiration to inspiration isabout one to three. Since during inhalation the sympathetic nervous system is stim-ulated, which in turn is beneficial, it could be of considerable use to an asthmatic.Further, because of vigorous expulsion owing to the upward movement of thediaphragm, the residual air is thrown out. In early stages of emphysema, it helpsvery much in restoring the lungs to normal functioning.

The congestion in the bronchi and bronchioles is decreased gradually; the mucusis forced from the bronchial walls and is coughed out. After some time, there shouldbe very little mucus to excite, thereby decreasing the possibility of precipitating aspasm. Furthermore, the powerful expiratory blasts of air through the entire respi-ratory passage act as a powerful inhibitory stimulus to the cough centers. Hencecough and the associated spasms of the bronchi diminish. Even for a generalizedcough, it could be very useful; and since it improves blood circulation to the headand face, one gets a healthier look.

Perhaps equally important is the fact that the abdominal organs get thoroughlymassaged through this practice. The liver, spleen, pancreas, kidneys and adrenals,and stomach and intestines get massaged and hence have improved vascularity.When combined in a group with such ¡sanas as sarv¡©g¡sana and pa≈cimat¡nam, ithelps to alter the shape of the belly from its usual and unseemly half S shape to onemore trim. Those suffering from irritable colon, constipation, certain types of early-stage diabetes due to a sluggish pancreas, flatulence, or dyspepsia will find it bene-ficial. Pregnant women and those suffering from menorrhagia or fibroids in theuterus are advised not to practice kap¡labh¡ti. Those with an acute pulmonary or car-diac condition are also advised to be extremely cautious in attempting kap¡labh¡ti.

For those interested in the esoteric aspects of ha†hayoga, kap¡labh¡ti is said toarouse ku∆∂alin• ≈akti. The forcible movements of the abdominal muscles, whendone properly and intensively, press the viscera and the various plexuses of theautonomic nervous system and stimulate them to activity, and hence, one could


conjecture, brings about the arousal of ku∆∂alin• ≈akti. Apart from the respiratorysystem, the digestive and other pelvic organs as well as the heart also get massaged.The pericardium is attached to the upper surface of the diaphragm. Therefore, dur-ing each forcible exhalation, the thrust by the diaphragm massages the heart. Need-less to say, it is absolutely essential that kap¡labh¡ti be practiced on an emptystomach. Though it involves a simple technique, it has a salutary effect on the over-all circulation of the body. The vibrations set in motion by kap¡labh¡ti reverberatethroughout all the cells of the body.

Pr¡∆¡y¡ma and Breathing©

The simple, involuntary physiological function of breathing lends itself to a varietyof pr¡∆¡y¡mas that have different benefits depending on a number of parameters.These variables may be broadly classed as follows: (1) the site in the respiratorypassage at which the flow of breath is regulated; (2) whether or not the breath isheld; (3) the ratios of the duration of inhalation, holding of the breath, and exhala-tion; (4) whether or not mantras are used; (5) whether or not bandhas are used; (6)whether inhalation and exhalation are continuous or discrete; (7) whether inhalationand exhalation are active or passive; (8) specific or nonspecific visual attention; (9)whether or not breath holding is accompanied by breathing; (10) the number ofrounds of pr¡∆¡y¡ma per sequence; (11) the number of sequences per sitting; (12)the frequency of doing pr¡∆¡y¡ma per day; (13) hybrid pr¡∆ayamas; (14) whetherperformed with or without utgh¡ta; (15) the stages of pr¡∆¡y¡ma siddhi as revealedby physiological and psychological transformations.

In inspiration, the air passes through the nostrils, pharynx, larynx, trachea,bronchi, and bronchioles and into the lungs. The reverse order occurs in expiration.The larynx, trachea, bronchi, and bronchioles form one continuous tube. At its lowerend the trachea divides into two bronchi, one for each lung. The bronchi consist of aframework of rings of cartilage united by fibrous and muscular tissue, and the bron-chioles branch off and divide further, narrowing to about half a millimeter in diam-eter. Their walls are formed of a fibrous elastic membrane with fibers of muscle.These muscles are controlled by two sets of nerves; one is called the vagus, whichcontracts the muscles when stimulated, and the other, the sympathetic, which relaxesthe muscles on stimulation. In certain types of pr¡∆¡y¡ma, the effort is to stimulateeither of these nervous responses. During active inhalation, the muscles of the chestwall cause the volume of the chest to increase, which in turn causes a vacuumbetween the lungs and the chest wall; and the lungs, being elastic, immediately fillthis vacuum. So the airspace inside the lungs also increases, and the pressure differ-


ential between the external air and the lungs causes the atmospheric air (b¡hya-v¡yu) to rush in and fill up the lungs, which also causes the diaphragm to becomeparallel to the floor, thanks to the expanding lungs. Expiration being normally pas-sive, the reverse process takes place; the muscles contracted during inhalation nowrelax, and the elastic lung tissues also return to their nonstretched state. It could beobserved that in the case of an asthmatic, since the bronchial tubes are constricted,the passive action of exhalation is not sufficient to expel the contaminated air; butinhalation is easy because of the activity of the powerful intercostal muscles.

The variety of pr¡∆¡yamas have been designed by yogis so that all the aspectsof respiration are completely free and perfect. By controlling the various aspects ofbreathing, one is able to control the nervous stimuli as well as what are otherwiseinvoluntary functions.

Ujj¡y• Pr¡∆¡y¡ma©

Those who have practiced ¡sanas according to our ¡c¡rya’s paddhati will find thatujj¡y• is quite easy to practice. Since all the movements in the various viny¡sas aredone with controlled breathing, and since the control is attained only in the throat atthe glottis, ujj¡y• is almost invariably done in ¡sana practice. In fact, ujj¡y• is givenpride of place by many ha†hayogis. Ujj¡y• pr¡∆¡y¡ma has many variations. But itsprimary function is controlling inhalation and exhalation at the site of the glottis,between the larynx and the trachea. The principle underlying ujj¡y• is that we learnto control the bronchial muscles through the vagus nerve. We know that a nerve car-ries an impulse to its muscles and causes it to contract. In ujj¡y• we voluntarily sendimpulses through the vagus nerve to the intricate muscles of the larynx near thevocal cords and learn to breathe well under such conditions. The hissing sound isproduced because of the proximity of the vocal cords to each other. The air passageis regulated by the partial closing of the glottis. The glottis is a valve-membrane thatcloses completely when one swallows and is completely open the rest of the time.In ujj¡y•, the partial closing of the glottis helps to regulate the breath, and the hiss-ing sound that is a by-product is also indicative of the correctness of one’s practiceof ujj¡y• pr¡∆¡y¡ma.

The normal way to practice ujj¡y• is to seat oneself in a comfortable, steady pos-ture. It can also be done standing, for example, in t¡∂¡sana or samasthiti. In thebeginning, ujj¡y• can be practiced without kumbhaka, or retention of breath. Formany beginners, it may be done in an easy posture like vajr¡sana, with long inhala-tion and exhalation and a hissing sound in the throat, between six and twelve times.It may be done immediately after doing the various viny¡sas in vajr¡sana. Later on,


breath holding, or anta˙-kumbhaka, may be attempted. Its benefit to those with res-piratory ailments is considerable, as is mentioned in the yoga texts and as borne outby experience. Asthmatics benefit a great deal from ujj¡y•. As noted above, in nor-mal breathing, exhalation is a passive process. This being the case, one can see whyit is especially difficult for air to be expelled when the bronchi and bronchioles arecontracted, as with asthma. On the other hand, since inhalation in the course of nor-mal breathing is an active process, the air is forced through the constricted tubes,and there is less difficulty with inhalation in one with asthma. In bronchial asthma,the muscles of the tubes undergo paroxysmal contractions that may last from a fewminutes to some hours, and in certain cases, days. When the spasms last for a num-ber of days, this is called “status asthma” and requires drastic treatment.

For such a person, when expiration becomes difficult, the lungs are not com-pletely deflated before another short, jerky, or spasmodic inhalation takes place.The lungs, as a result of the trapped air, become more and more distended, and themovement of the chest walls becomes more restricted. When the lungs get perma-nently distended as a result of many neglected attacks, the condition is known asemphysema, and yogic treatment in such a case is not as effective. With emphy-sema, the shoulders are held high and the whole chest is permanently increased insize. Such a barrel-shaped chest loses its usual suppleness and elasticity. The alve-oli of the lungs are blown up into large chambers as a result of the destruction of thesepta that separate them. Naturally, the disappearance of septa, which supportblood vessels, means a drastic reduction in oxygen exchange and the consequentloss of vital capacity. The suffering of an asthmatic pr¡∆a avasth¡ (painful state) isdreadful. The face becomes pale and anxious, the fingertips cyanotic. Experimen-tally, when we stimulate the vagus we produce a condition exactly similar tobronchial asthma. In asthma, the mucous membranes of the bronchi and the bron-chioles form a thick secretion: The bronchial muscles are in spasm, and the smallbronchioles practically close, which makes breathing the hardest job.

Ujj¡y•—some scholars say its meaning is “to produce sound”—is done with theglottis partially closed. The space between the two vocal cords varies with the soundwe produce. In ujj¡y• the vocal cords are brought nearer to each other than in nor-mal breathing. Therefore, when the air rushes in or out through the narrow slit, thewell-known hissing sound, resembling that of a cobra, is produced. This exercise isperhaps the first that is taught in our ¡c¡rya’s system, as all viny¡sas are done withcontrolled breathing. But it is very easy to do when one observes closely and does itin a relaxed fashion. The sounds produced are somewhat similar to asthmatic breath-ing. The muscles, which control the movements of the vocal cords, are activated bybranches of the vagus nerve, which innervate the muscles of the bronchioles.

The principle underlying ujj¡y• (which increases secretions of the pituitary andrelaxes bronchiole muscles) is that one learns to control these bronchial muscles


through the vagus nerves. In an asthmatic paroxysm, the bronchial muscles contractand the patient is helpless. In ujj¡y• one reverses the process; one voluntarily causescontraction of these muscles in order to regulate breathing. It may be found thatwith a little practice, one gradually controls these muscles and that the muscles nomore control the patient. Ujj¡y• can be practiced standing or sitting, in an office, oreven in other places. It is thus not difficult to practice, and may be done one hun-dred times a day. Slowly one may increase the duration of each round so that ittakes between half a minute and a minute to complete one round, thereby enablingthe abhy¡s• to gain good control over the respiratory muscles. It has also been foundthat the lungs’ vital capacity increases anywhere between two hundred and threehundred cubic centimeters. The effect of ujj¡y• is enhanced when retention ofbreath is introduced between inhalation and exhalation. As mentioned in yoga texts,the duration of the breath retention, in the final stages, should be four times that ofinhalation. The effects of ujj¡y• practice are described below.

The heart is enclosed in a sac, the pericardium, the lower part of which isattached to the center of the upper surface of the diaphragm. On either side of theheart is a lung, each of which is enclosed by a sac. This sac is composed of two thinbut strong membranes. Inside them, the pressure is negative, which allows the elas-tic lung to stretch a little. When we inspire, the negative pressure increases, andthus venous blood rushes up to the right atrium. The only thing separating the peri-cardium and blood vessels from the pleural cavity is this membrane, the pleura.Therefore, when pressure in the pleural cavity is decreased, the pressure in the rightatrium and the two venae cavae, which take venous blood to the right atrium, alsodecreases significantly. The pressure in the veins elsewhere, in the neck orabdomen, for instance, is much higher. Therefore the venous blood automaticallyrushes into the right atrium. Thus one may say that inspiration acts as a secondpump to the heart, a kind of respiratory pump. During inspiration the diaphragmpresses against the abdominal viscera, and therefore the pressure on the abdominalcavity is also increased, which again forces the blood in the abdominal veins to rushinto the right atrium. The arteries in the chest, however, are not affected, since theirwalls are thick and strong. Moreover, their blood pressure is higher compared to thatof the veins.

When the pericardium distends as a result of this low chest pressure, the rightventricle, which is much thinner than the left ventricle, is also distended. Hence,more blood rushes from the right atrium into the right ventricle and then to the lungsfor oxygenation.

Breath retention, or kumbhaka, following inspiration (anta˙-kumbhaka) is givenimportance in all forms of pr¡∆¡y¡ma. In anta˙-kumbhaka, increased negativepressure in the thorax is maintained throughout the period of retention. Theincreased flow of venous blood into the heart necessarily continues for a much


longer period. This is the special physiological significance of anta˙-kumbhaka.Increased blood flow into the heart implies that with every systole of the heart, anincreased volume of blood will be sent out, and there will be no stagnation in thevenous return. Blood pressure rises during kumbhaka to a considerable degree, toabout twenty milligrams for a healthy person, hence the practice is forbidden tothose with high blood pressure. In fact, it may be maintained that ujj¡y• inhalationand anta˙-kumbhaka are energizing processes, which is a plausible explanation forholding the breath four times longer than the time taken for inhalation. Thepr¡∆¡y¡ma procedure described by our ƒßis is both physiologically and psychologi-cally energizing. Conversely, long exhalation and a longer pause, or b¡hya-kumb-haka, following exhalation will be beneficial to those suffering from high bloodpressure or mental agitation. More research should be done along these lines.Patañjali refers to long exhalation and suspension of breath after exhalation ashelpful for calming the mind (1.34): “pracchardhana vidh¡ra∆¡bhy¡µ v¡ pr¡∆asya.”

There is yet another important aspect to kumbhaka: The respiratory centers thatinvoluntarily send impulses for inhalation and exhalation are brought under one’svoluntary control. When anta˙-kumbhaka is done after a robust inhalation, theinspiratory center is greatly stimulated and the expiratory center is inhibited, that is,the automatic impulses are stopped. Conversely, when we perform b¡hya-kumb-haka at the end of a deep exhalation, aided by m¶la bandha and udd•y¡na bandha,the inspiratory center is inhibited and the expiratory center is greatly stimulated. Bydoing this practice regularly many times a day (up to 320 times a day is mentionedin ha†hayoga texts), one may learn to stimulate or inhibit either the inspiratory orexpiratory centers at will.

In normal inspiration, impulses go through the vagus nerve to the respiratory cen-ters, causing inhibition of the inspiratory center and stimulation of the expiratory cen-ter (also known as the Hering-Breuer reflex). With anta˙-kumbhaka, however, theseimpulses are made inoperative so that the respiratory centers do not respond to thestimulation of the vagus nerve. In other words, deliberate control over the respiratorycenter is established. Thus repeated practice of kumbhaka strengthens the control, thesaµsk¡ra, of respiration. Furthermore, when we retain breath after inhalation, thatpart of the larynx immediately below the two vocal cords is distended by air underpressure. This area is asthmagenic, or sensitive, and thus there is an immediate ten-dency to cough (which can be observed in many who begin learning pr¡∆¡y¡ma). Butsince we deliberately stop the cough, we gain control of the respiratory centers. Inpr¡∆¡y¡mic exercises, the will plays a great part by sending impulses through thecerebrum to the respiratory centers. Those who suffer from asthma breathe abnor-mally, which in turn strengthens the abnormal breathing saµsk¡ras. Ujj¡y•pr¡∆¡y¡ma helps to correct this situation and to establish a healthy and more normalbreathing practice by fine-tuning the respiratory apparatus and its control.


The normal practice ofujj¡y• is as follows:

1. Sit in a comfortable ¡sana,such as vajr¡sana orpadm¡sana.

2. Exhale deeply.3. Lock the chin, so that the

vocal cords are broughtcloser together, and inhaleby expanding the chest.

4. After complete inhalation,pause for a moment andexhale with a hissingsound in the throat.

5. Pause for a moment afterexhalation, and then inhale through throat, again making a hissing sound.Follow the breath mentally.

Ujj¡y• is easy to do when practicing ¡sanas and viny¡sas, and it is extremelybeneficial. Yoga texts describe in detail a variety of ujj¡y• pr¡∆¡yamas and theirbenefits. Vy¡sa says, Tapo na parampr¡∆¡y¡math, “There is no tapas or purifyingactivity superior to pr¡∆¡y¡ma.” It burns always all defilements—mental and phys-ical—and enables the intellect to shine forth.

Pr¡∆¡y¡ma and Mantras©

N¡rada describes the use of mantras in pr¡∆¡y¡ma:

Pr¡∆o vay¶≈≈ar•rastha¡y¡mastasya nigraha˙!pr¡∆¡y¡ma iti prokt¡dvividhaf procyate hi saha.agrbhasca sagarbhascadvit•yastu tayorvara˙!apidhy¡nam vin¡ agarbha˙sagarbhastat samancita˙.


Mƒg• mudr¡N¡d• ≈odhana pr¡∆¡y¡ma

“Pr¡∆a refers to the v¡yu (force) in the body. ⁄y¡ma means to completely controlit (to bring under voluntary control). Such control of the life force, known aspr¡∆¡y¡ma, is of two kinds, agarbha and sagarbha, the latter of which is superior.Agarbha entails practicing breath control without dhy¡na, and sagarbha entailspracticing with an object for contemplation.”

In chapters 7 through 12, sequences of ¡sanas with their related breathing pat-terns, pratikriy¡s, and benefits have been presented. These are quite sufficient toprovide many yog¡bhy¡s•s the means to exercise various joints and muscles andmaintain reasonably good health. A few somewhat more difficult ¡sana groupsremain to be discussed. But it is time to describe the next important aspect ofbahira©ga s¡dhana (external practice), which is pr¡∆¡y¡ma.

Breathing, to which very little attention is paid by many of us in day-to-day life(except if we suffer from asthma or some other respiratory ailment), has been dis-cussed in great detail by our ancient yogis and sages. In fact, many have proclaimedthat pr¡∆¡y¡ma alone could be the key to attainment of sam¡dhi. The choice of pr¡∆aalone as the object of contemplation comes naturally to many people. Unlike othertypes of meditation, the advantage of pr¡∆¡y¡ma is that one need not have an exter-nal object or an abstract idea as a guide for contemplation. The yogis have found thatby exercising control over pr¡∆a, one can control the mind and thus transcend it. Pr¡∆aexercises are treated in depth in Vedic, Tantric, and also ha†ha disciplines.

The practice of ¡sana and pr¡∆¡y¡ma is an important prelude toantara©gas¡dhanap¶j¡, up¡s¡na, japa, and dhy¡na. ⁄sanajaya, or mastery of a pos-ture, is a prerequisite for the practice of pr¡∆¡y¡ma. By definition, ¡sana means toremain in a steady and comfortable position, but that position or posture should bea yogic posture. But this does not mean that one needs to have mastered all the¡sanas to practice pr¡∆¡y¡ma. In fact, it is rare to find someone who can do all thepostures. But the method of yog¡sana practice that includes use of breathing withthe various viny¡sas and pratikriy¡s ensures that one’s circulation and respirationare improved and that one feels deep relaxation before starting pr¡∆¡y¡ma. Thepractice of yog¡sana with viny¡sa, as propounded by our ¡c¡rya and based on suchauthorities as Patañjali, the Yoga Kuran†am, and the Vƒddha ˛¡t¡tapam, is scien-tific and comprehensive, and hence gives the maximum benefit to the abhy¡s• byimproving physiological functioning. The mind is trained and attuned to follow thebreath and consequently attain the capacity for ek¡gra, which is essential forantara©gas¡dhana and all other mental and spiritual attainments.

While defining pr¡∆¡y¡ma, Patañjali also stresses the mastery of at least one¡sana before proceeding to do pr¡∆¡y¡ma:

“Tasmin sati ≈v¡sa pra≈v¡syo˙ gati viccheda˙ pr¡∆¡yama˙,” “remaining in aposture [which is comfortable and steady] and controlling the inward and outwardmovement of breath is pr¡∆¡y¡ma.” In his commentary, Vy¡sa is more specific. He


says, “⁄sana jaye sati,” which means “Having mastered a particular posture, oneshould start on pr¡∆¡y¡ma.” As described in chapter 7, there are four distinct stagesto yogic breathing. Expelling the air completely from the lungs (kauß†asya v¡yu) isone, called pra≈v¡sa, or recaka: kauß†asya v¡yoh nissaranam pra≈v¡sah. Another isinhalation, or p¶raka, which is drawing in the atmospheric air and completely fill-ing up the lungs: B¡hyav¡yo˙ ¡camanam ≈v¡sa˙.

The other part of breathing, kumbhaka, the act of preventing the activity of bothinhalation and exhalation, is of two kinds. One is holding the breath after completeinhalation, and the other is to hold the breath out, as it were, after complete exha-lation. The four stages are:

1. P¶raka, or abhyantara vƒtti, complete inhalation;2. anta˙-kumbhaka, or stambha vƒtti, holding the breath in after inhalation;3. recaka, or b¡hya vƒtti, complete exhalation;4. b¡hya-kumbhaka, or holding the breath out after exhalation.

The time of day, the duration of the breath holding, the depth to which one feelsthe effects of the breathing, the frequency, the method of controlling the passage ofair, the various ratios of inhalation to holding and exhalation, the uniformity andfineness of the breath, and the use of mantra or not are the various parameters ofpr¡∆¡y¡ma. All of these together make for a formidable number of pr¡∆¡y¡matypes. Hence the guidance of a teacher is required to study and practice pr¡∆¡y¡ma.

The respiratory function is both voluntary and involuntary. Normally, ourbreathing is shallow and involuntary. In pr¡∆¡y¡ma a deliberate attempt is made tobring the breath under greater voluntary control, thereby bringing many other invol-untary conditions of the body and the mind under voluntary control. The yog¡bhy¡s•can achieve certain extraordinary powers over his or her own physiological func-tions. According to a well-known Indian neurosurgeon, it appears that the basic fac-tor in yoga is the control of respiration. Respiratory function can be more easilyinfluenced than any other vital functions, and the yogi uses it as the first step ingaining control of the nervous system. When cortical higher brain control isachieved over one basic function, it is possible to achieve control over others, suchas vasomotor functions. It is therefore possible to dilate bronchial tubes in an asth-matic, reduce blood pressure or increase it, and reduce the heart rate, all with thehelp of pr¡∆¡y¡ma. Neurological brain disorders such as epilepsy, as well as skinallergies and other conditions, also respond to pr¡∆a control.

A number of bodily functions classified as autonomous are not so for an adeptyogi. He or she is able to control by will many functions that are controlled in ordi-nary human beings by subcortical areas—which areas are normally beyond volun-tary control. The mechanism involved could be neurological and chemical. Once


regular control of respiration is achieved, there is perhaps a reciprocal biochemicalsteady state that is achieved that helps in the maintenance of this control. When oneestablishes full control over this lower vital and emotional function by the exerciseof one’s cortex (will), this is achieved by the reciprocal connections among the cor-tex, the reticular system, and the various centers in the brain. Constant yogic prac-tice of both pr¡∆¡y¡ma and meditation quite likely leads to an enlargement in thescope of the function of the reticular system and the cortex. It is quite possible thatin the real yogi the reticular system and the cortex are both functionally altered andstructurally proliferated. Patañjali seems to suggest that such a mutation of braincells is possible. The citta pari∆¡ma, or degree of alteration in the arrangement ofbrain cells, is inherent in every individual, and practice is the only cause of such amutation. It is an activity of the mind on the mind to transcend the mind. Like afarmer (kßetrika) who diverts the flow of water in a field, the yogi has only to chan-nel his neurological energies along certain paths. There is no external cause (nimit-tamaprayojakam) for such cortical and neurological changes. And the key to suchchanges appears to be the control of breath, or pr¡∆¡y¡ma.

Pr¡∆¡y¡ma is of two kinds, samantraka, or sagarbha, which is practicingpr¡∆¡y¡ma with mantras, and amantraka, or agarbha, which is practicing withoutthem. What mantras should be used in pr¡∆¡y¡ma? The practice of pr¡∆¡y¡ma withmantras is well known to Hindus. Many authorities have stated how pr¡∆¡y¡mashould be done with the g¡yatr•, pra∆ava, and b•jaksara mantras. These days, whilethe mantra part is maintained by many who observe sandhy¡ and other religiousrites, the actual practice of pr¡∆¡y¡ma is completely left out; most people merelytouch the nose, or worse yet, only suggest taking the hand toward the nose. The oft-quoted definition of samantraka pr¡∆¡y¡ma is given in the Manu Smƒti:Savyahrtik¡m sapranav¡m g¡yatr•m ≈iras¡ sa˙, trifpatet ¡yatapra∆a˙ pr¡∆¡yam¡ssaucyate, “Controlling the breath and meditating (japa) three times on g¡yatr• withvy¡hƒtis, siras, and the pra∆ava is known as pr¡∆¡y¡ma.” According to the the YogaY¡jñavalkya, pr¡∆¡y¡ma involves doing japa of g¡yatr• preceded by pra∆ava andassociated vy¡hƒtis and followed by ≈iras. Elaborating on this, the Vighne≈vara saysthat one has to control the v¡yu in the face and nostrils. The Y¡jñyavalkya gives amore detailed account of samantraka pr¡∆¡y¡ma; the mantras are bh¶˙, bh¶va˙,suva˙, maha˙, jana˙, tapa˙, and satyam along with omkara; then tatsavitu˙, fol-lowed by the ≈iras “om¡pa˙” (the ≈iras mantra is found in the Taittir•ya Upanißad).When one does this three times, it is known as pr¡∆¡y¡ma.

Details of the actual methods of pr¡∆¡y¡ma are found in such yoga texts as theYoga Y¡jñavalkya, the ˛iva Saµhit¡, the Ghera∆∂a Saµhit¡, and the Ha†hayo-gaprad•pik¡, and in the Amƒtanada, Kßurik¡, Tri≈ikhibr¡hma∆a, Dar≈ana,Dhy¡nabindu, N¡dabindu, Yogaku∆∂ali, Yogacu∂¡ma∆•, Yogatattva, Yoga≈ikha,Var¡ha, and ˛an∂ilya Upanißads, various Pur¡∆as, and of course the G•t¡.


To what extent should one draw in external air is a question often asked. Theanswer is to draw the air in completely so that all the n¡∂•s are “filled up.” This kindof drawing in is known as p¶raka. Holding the inhaled v¡yu in different parts of thebody, as it were, by means of the various bandhas and after deep inhalations isreferred to by Patañjali (2.50) in his mention of de≈a paridƒß†i, or the “place” wherethe breath is held. When the inhaled breath forces circulation from the roots of thehair and the ends of nails and is held (nirodha), this is the best, according to the ƒßiAtri, because a chain of changes is created in the body: Through pr¡∆a nirodha,v¡yu is generated, from v¡yu, agni, and from agni, jala (v¡ta s¡ram, v¡hni s¡ram,v¡ri s¡ram). With these three, one becomes completely purified. Then, one shouldexhale gradually through the nostril, so that it is never forced or abrupt. The bodyshould be kept steady. Such a practitioner is known as yogi of the highest order.

Pr¡∆¡y¡ma should be done with dhy¡na. This practice, however, requires ateacher. The better-known method of dhy¡na is mentioned by Vy¡sa, who says thatwhen doing p¶raka, one should meditate upon the four-faced Brahma whose com-plexion is red and whose position is in the navel region (n¡bhi cakram); duringanta˙-kumbhaka, one should meditate on the form of Lord Viß∆u, whose complex-ion is that of a blue lotus; and while doing recaka, one should meditate on the white-complexioned form of Lord ˛iva in the region of the forehead. He further explainsthe form of ˛iva:

Lal¡†astha ≈ivam ≈vetam recakenabhicintayet.S¡dhum sphatikasa©k¡≈am nirmalam p¡pan¡≈anam≈a©karam trayambakam ≈vetamDhy¡yan mucyate bandhan¡t.

“˛iva is like a spotless spha†ika (jewel). He removes all defilements. He is peaceful,three-eyed, and white. One who meditates on him thus in recaka is released from allsins.” When one practices pr¡∆¡y¡ma with g¡yatr•, the more popular method is to dorecaka with the mind closely following the breath. While doing kumbhaka one shouldsay the pr¡∆¡y¡ma mantra silently, which mantra is g¡yatr• with pra∆ava, vy¡hƒtis,and ≈iras. The exhalation should be done with the mind closely following the breath.In the Smƒti Ratn¡kara, it says that japa should be done while practicing kumbhaka:

Dakßine recakam kuryat kr¡menap¶ritodara˙ |Kumbhakena japam kury¡t pr¡∆¡yamasya lakßanam | |

Here the method of doing pr¡∆¡y¡ma is clearly described. It involves drawingin the air through the left nostril, doing japa during the kumbhaka phase, and thenexhaling through the right nostril. It should be understood that the next inhalation


is through the right nostril and the next exhalation through the left.What should be the duration of the inhalation, holding the breath, and exhala-

tion? Patañjali provides an answer in s¶tra 2.50—k¡la paridƒß†i; that is, pr¡∆¡y¡mashould conform to some measure of time. Here again there are many variations, butthere are many authors who suggest that the duration of kumbhaka should be fourtimes as long as p¶raka and twice as long as recaka. Many of the Upanißads thatrefer to yoga, as well as other yoga texts, give specific instructions concerning theduration. For instance, in the Tri≈ikhibr¡hma∆a Upanißad, we find:

Iday¡ v¡yump¶rya brahman ßoda≈am¡tray¡P¶ritam kumbhayet pasc¡t catur ßaßty¡ttu m¡tray¡Dv¡tƒsanm¡tray¡ samyak recayet p•ngal¡malam.

Here the recommended duration for the inhalation is 16 matras (units); holding thebreath, 64 matras; and exhalation, 32 matras. Following the method mentioned inSmƒti Ratn¡kara, japa should be done during the holding of the breath. Matramerely means a measure, here a measure of time. For japa, taking one matra tomean one syllable is valid. Thus the pr¡∆¡y¡ma mantra is made up of 64 sylla-bles—21 for the vy¡hƒtis, 24 + 1 for the g¡yatr• portion with pra∆ava, and 18 for the≈iras position. In practice, it takes about twenty seconds for the mantra. Thus itworks out to be five seconds for p¶raka, twenty for kumbhaka, and ten for recaka.If one practices the bandhas after exhalation, it will take nearly forty seconds foreach breath.

Pr¡∆¡y¡ma with g¡yatr• is an activating process. G¡yatr• is an energizing orinvigorating (pracoday¡t) mantra. There is also a method of using the pra∆ava inpr¡∆¡y¡ma. One meditates on the a during inhalation, on the u while holding thebreath, and on the m upon exhalation. The goal is to merge the mind with theunmanifest pra∆ava in b¡hya-kumbhaka. This is naturally for “out of this world”yogis, so one has to practice pr¡∆¡y¡ma according to his ¡≈rama, or station in life.

Ghera∆∂a describes sagarbha pr¡∆¡y¡ma and the repetition of b•ja mantra:

Seated in a comfortable sukh¡sana, facing east or north, let the abhy¡s•meditate on Brahma, full of rajas and of a blood red color, in the form of

the letter OM. Let him inhale by the left nostril, repeating OM sixteen

times. Then before he begins retention after completing inhalation, let

him perform udd•y¡na bandha [this requires considerable control and one

should attempt it only under the immediate guidance of a guru]. Then let

him retain the breath by repeating OM sixty-four times, contemplating

Lord Hari, full of the sattvic quality. Then let him exhale through pi∆gal¡[right nostril] by repeating OM thirty-two times, contemplating Lord ˛iva,


full of the tamas quality. Then, again, inhale through the right nostril,

retain by [the breath] kumbhaka and exhale through i∂¡ [left nostril], as

in the above method, changing nostrils alternately. Let him practice thus,

alternating the nostrils again and again. When inhalation is completed,

close both nostrils, the right one by the thumb [of the right hand] and the

left one by the ring finger and the little finger, never using the index and

middle fingers. The nostrils are to be closed as long as the breath is held

in kumbhaka.

There are some who (not initiated in g¡yatr• or pra∆ava) make use of one- or two-syllable Tantric mantras to practice sagarbha pr¡∆¡y¡ma. Patañjali also refers tothe number of breaths or rounds to be performed in pr¡∆¡y¡ma by the term s¡µkhyaparidƒß†i (2.50). Here again, different authors give different numbers. Sv¡tm¡r¡maand other ha†hayogis recommend 80 per sitting and four sittings, making 320pr¡∆¡yamas per day. This number should be taken as the upper limit, however, andthe instructions specify a gradual increase to that amount.

Pr¡tarmadhyandine s¡yamardhar¡tre ca kumbhak¡n! ˛anaivas•tiparyantam caturv¡ram samabhyaset!

In this stanza from the Tri≈ikhibr¡hma∆a Upanißad, it could be observed that eightyrounds per sitting in the morning, noon, evening, and midnight is suggested. By theexpression ≈anaiva one should understand “gradually,” and as•tiparyantam wouldmean “up to eighty rounds.” The sage Bharadv¡ja suggests that one should practicepr¡∆¡y¡ma with japa during kumbhaka ten times before proceeding to g¡yatr• japa.It should be noted that sagarbha pr¡∆¡y¡ma requires that one first master a yogicposture before one develops the capacity to do kumbhaka for the length of timerequired to complete the mantra and to do it without a break for the required num-ber of rounds. Such ability may be obtained by a variety of pr¡∆¡y¡ma and kumb-haka practices referred to in ha†hayoga texts. The ultimate benefit of pr¡∆¡y¡ma issam¡dhi itself, according to certain schools. In the G•t¡ this process is referred to asthe merger of pr¡∆a and ap¡na, which is achieved by a very long (d•rgha) and fine(s¶kßma) pr¡∆¡y¡ma.

As for the benefits of sagarbha pr¡∆¡y¡ma, according to Manu, if it is done withvy¡hƒtis, pra∆ava, and ≈iras three times, this is the greatest tapas for a br¡hmana(Vedic scholar). Just as a metal is cleaned in a smelter, the indriyas lose their impu-rities through pr¡∆¡y¡ma. If one does this practice sixteen times a day, in a montheven the dreaded brahmahatti doßa (the sin of harming or killing a Vedic scholar)is destroyed. According to Sounkata, if one practices three times with great con-centration, all doßas vanish instantaneously. With twelve breath controls, the citta


becomes clear. Doing pr¡∆¡y¡ma twenty-four times is the greatest tapas.Pr¡∆¡y¡ma done with ten pra∆ava (seven with the vy¡hƒtis, one with g¡yatr•, oneat the beginning of ≈iras, and one at the end) and fourteen times for a monthreleases one from brahmahatti doßa and all other minor condemnable deeds(upap¡taka), according to yama. Vy¡sa simply states that the pr¡∆¡y¡ma mantra ofjapa makes one absolutely fearless. And the Yoga Y¡jñyavalkya relates the sevenvy¡hƒtis to the seven worlds or seven levels of consciousness. With that, the yogigains the capacity to communicate with all the higher worlds.

Patañjali, the authority on yoga, says: Tata˙ kß•yate prak¡≈a ¡vara∆am, withpr¡∆¡y¡ma “the clouding of the mind is reduced and the intellect shines in its truesplendor” (2.52). Further, Dh¡ra∆¡su ca yogyat¡ manasa˙, “As a natural conse-quence, such a mind, and only such a mind, becomes fit for dh¡ra∆¡,” or the firststep of antara©ga s¡dhana (2.53).

The uniqueness of our ¡c¡rya’s system is that it attempts to include all the var-ious systems of yoga and the gradual combination of the different a©gas so thatthere are no abrupt changes. Thus in the practice of ¡sanas, the introduction ofbreathing practices helps to prepare the breathing apparatus for subsequentpr¡∆¡y¡ma. Practicing ¡sanas with breath control, a certain mental discipline isachieved, so that when one starts pr¡∆¡y¡ma, the mind also cooperates in follow-ing the breath, and thus in kumbhaka one may use Vedic mantras, b•jaksara, orother Tantric mantras. With the requirement of the adhyayana (chanting) accordingto one’s ≈¡kha (branch of the Veda), and the study of yogic texts such as Yogadar≈ana, ha†hayoga texts, and Upanißads with the foundation of saviny¡sa ¡sanapractice, one may hope to experience the greatness and thoroughness of our ancientsystem of yoga. There are schools of yoga that insist on pr¡∆¡y¡ma alone as the keyto yoga, as they declare that control of pr¡∆a (pr¡∆anirodha) inevitably brings con-trol of mind (citta nirodha). In the classic Yoga V¡≈iß†ha, the ƒßi V¡≈iß†ha explainsthe relationship between mind and breath and extols the efficacy of pr¡∆¡y¡ma incontrolling the mind.

Dear R¡ma, the body is like a vehicle. The Lord has created the mind and

pr¡∆a for the functioning of the body. When pr¡∆a rejects the body, the

mechanism of the body also ceases. And when the mind works, pr¡∆amoves; it acts. The relation between pr¡∆a and manas, which are

extremely close (anyonya) to the body, is like a driver and his chariot. The

way the pr¡∆a v¡yu acts, in the same way manas reacts. So the highest

achievement of mind control is to be obtained by the concentrated effort

of mastery over pr¡∆a. The regulation of pr¡∆a brings in its wake all

worldly achievements (r¡jy¡di) as well as others and leads to the highest

spiritual attainment, that is, to total independence of the indwelling


consciousness from the gross, subtle, and causal bodies that are operated

by pr¡∆a force. Hence, study the science of breath.

In previous sections, a few pr¡∆¡yamas and the general benefits of pr¡∆¡y¡mawere discussed. There are a few more kumbhakas mentioned in the yoga texts thatare also now in vogue:

Brahmadayopi trida≈¡˙pavan¡bhy¡sa tatpar¡˙ | abh¶vam antakobh¡yattasm¡t pavanamabhyaset | |

“The gods, including caturmukha Brahma, practice the highest activity, pr¡∆¡y¡ma,because of the fear of death. Therefore practice pr¡∆¡y¡ma always.” It is also saidthat as long as the breath is restrained in one’s own body, the mind is calm and steady,and also that when the vision (dƒß†i) is directed toward bhr¶madhya, why should therebe fear of death? The n¡∂•s are purified by a properly regulated course of pr¡∆¡y¡ma.The sage Brahm¡nanda, in his Jyotsn¡, or commentary, on the Ha†hayogaprad•pik¡,details the routine to be followed by a full-time yog¡bhy¡s•. It becomes importantwhen one finds time heavy on one’s shoulders after discharging one’s necessaryresponsibilities and the mind yearns desperately for spiritual quest and rest.

Pr¡∆¡y¡ma Practice©

Let us detail the routine of a yog¡bhy¡s• for achieving the goal of pr¡∆¡y¡ma prac-tice. The yog¡bhy¡s• should wake up a couple of hours before dawn (ußatk¡la)—orat least early in the morning (prata˙k¡la). He should contemplate his guru in hismind and his dear deity (iß†a devat¡) in his heart. Then he should clean his teeth(danta≈uddhi), complete his other morning ablutions (suddhi), take a bath, and applybhasmadh¡ranam (for a Saivite) or pun∂radh¡ranam (for a Vaiß∆avite), as the casemay be. Then he should choose a clean place in a pleasant room (ramya ma†ha). Hethen should seat himself in a comfortable yogic posture on a soft (mƒdu) spread. Heshould then again meditate intently on °≈vara before proceeding to state his resolve(sa©kalpa), mentioning the place and time (de≈a and k¡la) for the particular yogicactivity.

Adyety¡di ≈riparame≈vara pras¡da p¶rvakam |

sam¡dhi tatphala siddhyartam ¡sanapurvakam pr¡∆¡yamadh•n karißye | |


“With the grace of Lord Parame≈vara, I now start the practice of yoga with ¡sanas,and other a©gas such as pr¡∆¡y¡ma for attaining sam¡dhi and other yoga benefitsthereof.” Since N¡g¡r¡ja is referred to as the deity of yoga, one should utter a suit-able prayer and proceed with the practice of ¡sanas.

During the practice of ¡sanas, when one naturally becomes fatigued one shouldassume ≈av¡sana. If one feels refreshed thereafter, one may continue with ¡sanas;if one still does not feel up to the mark, one should not proceed with further prac-tice. Instead one should practice a vipar•takara∆• (somewhat between ¶rdhva-pras¡ritap¡d¡sana and sarv¡©g¡sana) where the back of the neck is stretched,facilitating the chin lock in later kumbhaka. The next step will be to do ¡camanaand begin that division of yoga called pr¡∆¡y¡ma. Think then of the great yogis(yog•ndra) for inspiration and proceed to do pr¡∆¡y¡ma as detailed by Lord ˛iva inthe Kurma Pur¡∆a. Start with mentally saluting the great yogis and their ≈ißyas (dis-ciples) and Lord Vin¡yaka. With a calm mind one should contemplate the Lord(˛iva). Then, sitting in siddh¡sana or baddhapadm¡sana, one should practicepr¡∆¡y¡ma, accompanied by the great bandhas at the appropriate stages. To startwith, one should do ten breath controls, then increase it daily by five. This shouldbe done until one is in a position to do eighty kumbhakas in one sitting, without anydifficulty and with a positive sense of well-being (susam¡hita).

The first pr¡∆¡y¡ma should be n¡∂• ≈odhana with the use of alternate nostrils. Itis referred to as anuloma and viloma by some (they are, however, differently inter-preted by various schools). A kumbhaka called s¶ryabheda with the requisite band-has should then be practiced. It should be followed up with ujj¡y•, ≈itk¡r•, ≈•tal•,bhastrik¡, or any other pr¡∆¡y¡ma. This should be followed by certain mudr¡s,(especially mah¡mudr¡) as taught by one’s teacher. The posture is padm¡sana, andthe higher yoga practices such as n¡d¡nucintanam, which are enabled by≈a∆mukh•mudr¡, should be attempted.

Thereafter one should mentally surrender all the benefits of such practice to theLord (°≈varapra∆idh¡nam). After practice is over one should bathe in hot water(ußnena v¡ri∆¡). Then one should perform one’s daily duties (nitya karma). Theabove-mentioned yoga practice should be repeated at noon. After some rest, oneshould have patya (that sattvic food mentioned in yogic and ⁄yurvedic texts), lunch,but never those prohibited items. One should, immediately after lunch, take car-damom (yelam), cloves, or karpura, if desired, betel leaves (t¡mbula) without lime,if he practices intensely the praiseworthy pr¡∆¡y¡ma. The yog¡bhy¡s• should notindulge in frivolous small talk. After lunch, he should listen to the Pur¡∆as, practicen¡masa©k•rtanam of °≈vara, but preferably research (avalokana) authentic texts ofliberation (mokßa≈¡stra) such as Yoga, S¡µkhya, Ved¡nta, and so on. At dusk, heshould perform the s¡yam sandhy¡, but preceded by over an hour of yog¡bhy¡sa, asmentioned earlier.


The different types of kumbhakas require some elucidation. The Yoga≈ikhaUpanißad says:

Atha abhyaset s¶ryabhedam ujj¡y•m c¡pi ≈•talambhastram c¡n sahita n¡masy¡t catußtayakumbhaka˙bandhatraye∆a samyuktekevalapr¡ptikara˙.

“There are four types of kumbhakas to be practiced, s¶ryabhedam, ujj¡y•, ≈•talam,and bhastram, which are known as sahita-kumbhakas. One should practicethem,and kevala-kumbhaka, facilitated by the three bandhas.”

N¡∂• ≈odhana pr¡∆¡y¡ma is an extremely popular pr¡∆¡y¡ma referred to inVedic texts. S¶ryabheda-kumbhaka requires a proper ¡sana. Then the inhalation isdone slowly and deeply through the right nostril. According to ha†hayoga, suchinhalation and subsequent kumbhaka should induce pr¡∆ic effect up to the hair fol-licles and the fingertips. Thereafter one should exhale slowly through the left nos-tril. The procedures are repeated a fixed number of times. S¶ryabheda helps torelieve heaviness in the head and sinuses (kap¡la doßa), the four types of v¡ta doßa,and other diseases caused by microorganisms (krimi doßa). Repeated practice,according to the Ha†hayogaprad•pik¡ and the Yogaku∆∂al•, is a superior yoga prac-tice. According to the Yoga≈ikha, it also helps in cases of many abdominal (udarebahurogha∆¡m) disorders. In general, s¶ryabheda is believed to “heat up” the sys-tem. Hence those with low blood pressure and lethargy may benefit from it. Someschools say that candrabheda, which just reverses the process of s¶ryabheda, canhelp those with hypertension.

Yet another pr¡∆¡y¡ma, called ≈•tal•, is also quite popular, and the procedure isas follows:

1. Sit in a comfortable ¡sana. 2. Curl the tongue into a roll, protrude it, and inhale through the wet tongue,

slowly stretching the neck and dropping the head back in the process. 3. At the end of inhalation, release the curl, fold the tongue, and touch the top of

the upper palate, touching if possible the uvula. This is called jihva bandha.4. Then stretch the back of the neck, drop the chin to about three inches below

the neck pit, forming ka∆†ha bandha.5. After kumbhaka, exhale through alternate nostrils.6. Repeat wetting the tongue (before inhalation)—the “air-conditioning”

pr¡∆¡y¡ma.



Done on hot days, this practice helps remove fatigue.According to the Yoga≈ikha Upanißad, it helps to cor-rect pitta doßa and suppress hunger and thirst. TheHa†hayogaprad•pik¡ and Ku∆∂al• Upanißad attributeto ≈•tal• other benefits, such as the eradication of dis-eases of the spleen (pl•ha), abdomen (gulma), fever,and bodily toxins (viß¡n).

Bhastrik¡ is like kap¡labh¡ti, except that there isan additional constriction of the glottis so that theresounding effect is felt in the throat, nostrils, andeven in the skull. The effects are similar tokap¡labh¡ti, but are more pronounced for a potential

asthmatic, working as a preventive but not necessarily as a cure. Summarizing the effects, it may be mentioned that s¶ryabheda

is heat generating. It is energizing and contraindicated for thosewith hypertension. Bhastrik¡, kap¡labh¡ti, and n¡∂• ≈odhanamaintain equitable heat (or temperature), whereas ≈•tal•, s•tkan•,and perhaps candrabheda have cooling effects. For those who fol-low ⁄yurveda, s¶ryabheda controls excess of wind (v¡ta doßa),ujj¡y• controls phlegm (kapha doßa); ≈•tal• controls bile (pittadoßa); and bhastrika, kap¡labh¡ti, and n¡∂• ≈odhana work to har-monize.

It is interesting to note that the various terms in yoga, such as¡sana, pr¡∆¡y¡ma, and bandhas, have been given entirely differ-ent connotations by certain Ved¡ntins. The Tejabindu Upanißadhas the following to say about pr¡∆¡y¡ma:

Citt¡di sarvabhav¡subrahmatvenaiva bh¡vanamnirodhe˙ sarvavƒtt•n¡mpr¡∆¡y¡m¡ssa ucyatenißedanam prapancasyarecakakhyatha sam≈rita˙brahmaiv¡smi iti ya vƒtti˙p¶rako vayuctyate.

“To renounce involvement in prapan÷ca, or the manifest universe, is called recaka,or exhalation; making the mind full with the realization that ‘I’ am identical withBrahman is called p¶raka or inhalation.” And further,

˛•tali pr¡n¡y¡ma

˛•tali position

Tatastadvƒttinaiscalyamkumbhakam pr¡nasamyama˙ayanc¡pi prabhuddhanamajñ¡nam ghr¡∆ap•danam.

“That mental state of ‘I am Brahman’ permanently maintained is called kumb-hakam (kevala). This is how pr¡∆¡y¡ma is to be understood by the wise. Mere hold-ing of the nostrils is ignorance.” The above stanzas also appear in one of the classicworks of ˛r• ˛a©kar¡c¡rya, the Aparokß¡nubh¶ti.


14Yoga for Women

THERE IS NO DOUBT THAT WOMEN HAVE BEEN practicing yoga since theolden days. In fact, there are yogic practices meant specifically for women. In hisYoga Rahasya, the sage N¡thamuni considers the special conditions of women andprescribes yoga practices that can be done during pregnancy for the proper devel-opment of the fetus (garbha vƒddhi). He also recommends specific prenatal exer-cises, as well as ¡sanas that work to tone up the “delivery apparatus” and help innormal birthing. A third group of exercises consists of those that are useful in fam-ily planning (mit¡ sant¡na) and for contraception (garbha nirodha). Readers maywonder whether these have been medically tested; it should be noted that for themto be effective, women need to have practiced these ¡sanas from early childhood,prior to puberty, since many ¡sanas are not at all possible to perform at the timethey are needed—unlike taking a pill or undergoing instant surgery. All of them,however, are logical, and those interested should take them up at a young age tosee the efficacy of the system.

Concerning those yogic practices that are prescribed for the healthy develop-ment of the fetus, N¡thamuni offers the following ≈loka.

P¶rvat¡na dvip¡t baddhako∆a padmacatußtayam≈•rßa, sarv¡∆ga, pavan¡y¡mai˙, garbho vivardhate.

This passage says that fetal development is helped by (1) p¶rvat¡n¡sana, or ante-rior-stretching posture; (2) dvip¡da p•†ham, or desk pose; (3) baddhako∆¡sana; and

(4) padm¡sana, or lotus pose. In addition, sarv¡©g¡sana and ≈•rß¡sana are sug-gested. Together, these ¡sanas make up a daily routine that will facilitate properfetal development. In describing these ¡sanas, the approach is cikits¡krama (thera-peutic), and thus the classic viny¡sakrama may not be applicable in toto.

P¶rvat¡n¡sana, or anterior-stretching pose, was mentioned in chapter 11 as acounterpose for pa≈cimat¡n¡sana. Briefly, one should sit erect with feet togetherand stretched forward. This is called da∆∂¡sana, or stick pose. Then inhale, raiseboth arms overhead, and stretch and interlock your fingers. Next, exhale, and keepyour palms on the ground about one foot behind your back. Then, keeping your backstraight, press your palms, exhale, and raise your trunk, dropping your head backand pushing up your chest and pelvis. This is p¶rvat¡n¡sana. Inhale and return tostarting position. Do this cycle about six times, or stay in the posture for three to sixbreaths. It is a very good stretching movement involving the front of the ankles,shins, knees, thighs, and especially the pelvis, abdomen, neck, shoulders, and arms.The chest is opened up. It also helps to tone up the breasts by improving vascular-ity and could help later in proper lactation. A milder variation of it is calledcatußp¡dap•†ham, which could also be attempted.

For dvip¡da p•†ham, or desk pose, lie down on your back on a soft carpet. Sup-port your neck and head with a small soft pillow. Exhale, bending your legs at theknees, drawing and placing your feet close to the buttocks. Do a few modulatedbreaths with the chin lock, or j¡landhara bandha. If possible, hold your ankles withyour hands; if not, keep your palms pressed on the floor. Inhale, press the back ofyour head, neck, and feet, and raise your trunk slowly as high as you can, archingand stretching your spine. Stay for a few seconds, pushing your hips (and stretchingyour lower back in the process). Exhale, slowly lowering your body. Repeat threeto six times. This is dvipada p•†ham. The trunk raising may be done on exhalation,if one tends to obesity during pregnancy. This is a comparatively easy but veryeffective ¡sana. It is especially useful in relieving the lower-back pain so commonamong pregnant women.

Baddhako∆¡sana should be practiced daily by women. From da∆∂¡sana, exhale,bend, and push one knee outward so that the thigh is at about ninety degrees. Keepyour heel pressed against the perineum and bend your other knee also, so that bothfeet are together and your heels are pressed against the perineum. Keep your palmson your toes. Stay for a few minutes, doing normal inhalation and exhalation. Thisis baddhako∆¡sana.

It should be noted that unless one has been practicing this ¡sana from childhood,the hips will have become too rigid to do this ¡sana properly. This is the one ¡sanain which one stretches the pelvic muscles and the perineum as well, so that the nor-mal development of the fetus is facilitated by the elastic pelvic muscles. Furthermore,it also helps in toning up those muscles that can help at the time of delivery. It is one

Yoga for Women 213 D

of the few ¡sanas recommended for practice duringmenstruation.

Padm¡sana, or lotus posture, is the fourth ¡sanathat N¡thamuni suggests. One of the best-known¡sanas, it holds pride of place among the sitting pos-tures. Sit in da∆∂¡sana, exhale deeply, bend yourright leg, and draw your right foot close to your bodywith your hands and place it on top of your left thigh,in line with the groin. On the next exhalation, in asimilar fashion, bend your left knee and place yourleft foot on top of your right thigh. Now you have a

C 214 Yoga for Women

P¶rvat¡n¡sana Dvip¡dap•†ham

Baddhako∆¡sana

Padm¡sana (baddha) ˛•rß¡sana Sarv¡∆g¡sana

very firm base to sit on and the lower back is relieved of the strain of the outwardcurve normally found in squatting. Keep your palms on your knees, lock your chin,and do normal breathing, with the mind following the breath. This is padm¡sana. Inthis position, one feels extremely secure and on a firm base, and the lower backenjoys freedom and comfort. The body should be erect. Naturally the mind will berelaxed and alert, unperturbed by postural distractions. This posture is recom-mended for both pr¡∆¡y¡ma and some relaxation procedures like ≈a∆mukh•mudr¡.

In addition to these four, N¡thamuni recommends two inverted postures,≈•rß¡sana and sarv¡©g¡sana. The techniques of doing both sarv¡©g¡sana and≈•rß¡sana have been explained in chapter 9.

According to yogic theory, diseases are caused by the displacement of vitalinternal organs and muscles, and yogic practice works to normalize the body. Thiskind of correction is accomplished by ≈•rß¡sana and sarv¡©g¡sana. There are manybenefits attributed to the practice of these ¡sanas. They have a tonic effect on theovaries and pelvis through the removal of congestion. ˛irß¡sana has a sedativeeffect. Pregnant women tend to get circulatory problems in their lower extremities,and ≈•rß¡sana helps to restore circulation. Sarv¡©g¡sana has the advantage of work-ing on the thyroid and helps to tone it. A sluggish thyroid affects the fetus. Evenhere, N¡thamuni cautions that inverted postures should be performed only up to thesixth month of pregnancy. In addition to these ¡sanas, an appropriate pr¡∆¡y¡mawhile pregnant is n¡∂• ≈odhana. Kumbhaka, or retention of breath, should be verylimited. One’s diet should be sattvic and nourishing.

It should be clear that one cannot start to learn yoga after pregnancy. One shouldhave been practicing yoga regularly prior to becoming pregnant. One should avoidall forward-bending movements; pr¡∆¡y¡ma should not be preceded by kap¡labh¡tior bhastrik¡; and udd•y¡na bandha should also be avoided. For the purposes ofrelaxation, ≈av¡sana and ≈a∆mukh•mudr¡ can be practiced after pr¡∆¡y¡ma. Apartfrom the ¡sanas already explained, there are certain others that—if practiced fromthe early prenatal period—will facilitate normal delivery.

The purpose of this chapter on the possible applications of yoga therapy ismainly to indicate the potential of yoga and to appraise the depth of insight theyogis had on human anatomy and physiology and the wide range of yoga’s thera-peutic applications. This information should not, however, be taken as a workbookfor direct application “off the shelf,” as it were. It is important to emphasize that inall cases, a guru or a teacher is essential for the practice of yoga. It is all the moreso in the case of the therapeutic applications of yoga.

Before discussing the mechanics of some other yoga practices, let us considerwhat natural childbirth, or sukhaprasava, could mean. Medical doctors say thatwhen the cortex of the brain functions properly, our emotions cease to have an


upsetting effect upon us. If one considers the effect of fatigue, a phenomenon welive with increasingly, it can be said that emotion or agitation occurs when there isno restraining influence. One can feel the devil working havoc when one is weakwith fever. It is said that the necessary restraint comes from the cerebral cortex,which has the power to stop the disturbance originating in the subconscious centersof the brain. Hence it follows that agitation will occur when the cortex is disturbed.With less agitation, one’s muscles can act normally, facilitating easy childbirth.Thus the goal of yoga practice, according to samprad¡ya (tradition), is both to pro-vide the necessary strength to the uterus and the secondary muscles that work inunison during labor and to produce a serene mind that has the capacity to preventdisturbing emotions from appearing. Yoga attempts to provide both physicalstrength and mental control. With yoga, the expectant mother is able to direct child-birth, rather than meekly submitting to it, in which case the whole process becomespainfully chaotic. Of course, there are conditions like cephalopelvic disproportionand other mechanical, obstructive causes that may not allow for natural childbirth.But cases of cervical dystocia that may be related to psychological conditions orintrinsic neuromuscular disturbances may benefit greatly by these practices. Thusdoing yog¡sanas with proper modulated breathing and the specific pr¡∆¡y¡masmentioned by N¡thamuni can help (a) create a relaxed and confident mind, able to“manage” labor properly; (b) strengthen the “delivery apparatus” so that it isrelaxed and tuned to function properly; and (c) produce a sedative effect on themother. These practices also help to provide the proper oxygenation so very neces-sary to the mother and the fetus during the birthing process.

The yoga practices that are helpful in facilitating normal delivery are given byN¡thamuni in the following verses.

⁄dhyam ja†harabh¡gasyavivƒti˙ ko∆a pancakam˛•tal• n¡∂•k¡ ≈uddhi˙dvip¡t p•tañca vajrakamda∆∂¡sanam p¶rvat¡namsukhaprasava hetawa˙.

The suggested ¡sanas are:

1. Ja†harparivƒtti, the abdominal stretch;2. five ko∆¡sanas: (a) utthitatriko∆¡sana (b) ¶rdhvako∆¡sana, done in either

≈•rß¡sana or sarv¡©g¡sana, but only up to the sixth month of pregnacy; (c)upaviß†hako∆¡sana, sitting triangle pose; (d) suptako∆¡sana, ko∆¡sana donelying down; and (e) baddhako∆¡sana, an extension of upaviß†hako∆¡sana;


3. dvip¡da p•†ham, desk pose;4. vajr¡sana;5. da∆∂¡sana, stick posture;6. p¶rvat¡n¡sana, anterior-stretching pose.

The suggested pr¡∆¡y¡mas are ≈•tal•, for cooling the system, and n¡∂•≈uddhi, forpurifying the n¡∂•s.

There are many variations of ja†haraparivƒtti. The simplest and the most appro-priate one is described here. Lie down, faceup, on a soft carpet. Keep your legstogether and arms alongside your body. After a few breaths, and when you feelrelaxed owing to steady breathing, preferably controlled in the throat, inhale,stretch your arms, and swing them to shoulder level. On the next exhalation, slightlyraise your head, turn it to the left, and place the left side of your face on the floor.After a couple of breaths, on exhalation, press your arms and upper body, and,anchoring your hip, slowly swing your legs, one by one, to the right side, stretchingthe left side along its whole length. Close your eyes and do six to twelve inhalations,with very little holding of the breath in between. One may stay up to five minutesin this stretching pose. Then inhale and return to the starting position. Repeat on theother side. Ja†haraparivƒtti is helpful in stretching the abdominal and pelvic mus-cles. The long modulated breathing helps the relaxed stretching and enhances mus-cular strength.

Triko∆¡sana, or triangle pose, is a posture that should be done carefully. Onlythose who have good balance and who have been regularly practicing yoga shouldcontinue this posture during pregnancy. Start with samasthiti. Exhale and spreadyour legs about three to four feet, depending upon your height. Take a few normalbreaths and get a feel for the posture. Inhale and raise your arms to shoulder level.Then exhale, turn your head and neck to the left so that you look over your leftshoulder, and, bending your hip, exhale as you lower your trunk on the right side, asmuch as possible without undue strain. Hold your knee, shin, or ankle or place yourpalm on the floor by the side of your right foot, depending upon your ability tostretch. Inhale and return to the starting position. Repeat a few times or stay in utthi-tatriko∆¡sana for a few breaths. Then repeat on the other side. One may do this¡sana up to the sixth month. A long exhalation coupled with smooth movement willhelp produce a good stretch of the sides, especially the hip. If one is even slightlyunwell, feeling weak, or giddy, this exercise should be skipped. It may be prefer-able to do this posture lying down, as ja†haraparivƒtti.

Upaviß†hako∆¡sana is done sitting. Start with da∆∂¡sana. Exhale and spreadboth legs as much as possible, stretching the groin area and thighs. Then inhale,raise your arms overhead, and do a few breaths. Next, exhale slightly, push yourpelvis forward, and hold your toes, keeping your chin locked. This may be possible


up to the sixth month. If holding your toes is not pos-sible without bending forward too much, you mayjust keep your arms overhead and stay for six totwelve breaths. As a counterpose, exhale, and putyour palms on the floor behind your back. Inhale andraise your trunk, keeping your legs spread. Exhaleand return.

If one is capable of doing ≈•rß¡sana andsarav¡©g¡sana, ¶rdhvako∆¡sana may be attempted.This posture has an added advantage in that, beingan inverted posture, the legs become relaxed after awhile in the position, and it will be possible to get a

little more stretch of the thighs, groin, perineum, and pelvis. Thisposture should be done only up to the sixth month.

The above group of ¡sanas provide a necessary pelvic stretchand improve circulation; because of the accompanying longbreathing, the abhy¡s• is generally more relaxed and thus thestretching will be easier. The remaining ¡sanas and certain niya-mas mentioned in yoga texts for pregnant women now follow.

Rakßa prathaman caksurnertramn¡sam jihv¡m tadanutwancahƒdayam tundam nabhimyonimtatastu rakßat sakalam g¡tram.

“Carefully protect the eyes, ears, nose, tongue, skin, heart, stom-ach, navel, and genitals. Because of such care [by theyog¡bhy¡sa], the entire body is well protected.” We have so fardiscussed yoga practices for proper fetal development and natural

childbirth. Up to the sixth month, the two inverted postures and the ko∆¡sanas, alongwith their variations, were recommended as they are specifically useful for a goodpelvic stretch. The ko∆¡sanas are generally said to be very helpful for strengthen-ing the sex organs and can be employed as correctives and for proper development.

Apart from these ¡sanas, vajr¡sana and v•r¡sana are also helpful. Of the manysitting postures, vajr¡sana is comparatively easy to do and combines grace andpoise. It is a good posture for pregnant women to sit in comfortably, especially fordoing pr¡∆¡y¡ma. It helps to keep the back straight and derives its name from thefact that it makes the spine strong and supple. Unlike other sitting positions, whichput considerable strain on the lower back, it helps to reduce the pressure on the


˛anmukh•mudr¡

Da∆∂¡sana

abdomen for pregnant women. This and v•r¡sanahelp relieve lower-back strain. Some of the varia-tions, such as lifting the trunk on inhalation and backbending, help stretch the pelvis and make the spinesupple.

Kneel and bend your legs, keeping knees, shins,and ankles together and stretched, with toes pointingoutward, so that you sit on your heels with your shinson the carpet. Keep your palms on the knees. Stretchthe back of your neck and place your chin a coupleof inches below the neck for j¡landhara bandha.Throw your shoulders back a little so that the shoul-der blades draw closer to each other, forming acanal along the spinal column and opening up thechest. In this position, as a result of j¡landharabandha, a good stretch is obtained all the way downthe spine. This is said to activate the ap¡na force,which has to be quite strong for natural childbirth.

Vajr¡sana, or spine posture, is believed to havebeen perfected by the sage Dadh•ci, whose spinebecame a deadly weapon in the hands of Indra. Afew viny¡sas in this posture, such as back bendingand raising the trunk (in the kneeling position), willalso be helpful. Forward bending, however, shouldbe avoided. V•r¡sana is a bit more complicated and has been explained in chapter12. These ¡sanas also help improve the vascularity of the lower extremities, thelumbosacral region, and the pelvic organs. Apart from these, N¡thamuni also sug-gests bharadv¡j¡sana, which was explained in chapter 12. This ¡sana gives a spinaltwist, without pressure on the abdomen. Bharadv¡j¡sana is also helpful for expand-ing the chest, and with that the spine get a complete exercise. N¡thamuni suggestsdoing these ¡sanas regularly during pregnancy to facilitate natural childbirth:

Da∆∂a padma bharadv¡jav•ra vajra sam¡nitu.⁄sanani sad¡ kuryu˙sudh•rga recap¶rakai˙

It should be noted that these ¡sanas are best performed with long and smoothinhalation and exhalation. According to the system of my ¡c¡rya, ¡sanas are to be


Upaviß†hakon¡sana

P¶rvat¡sana in upaviß†hakon¡sana

done with viny¡sas and coordinated long andsmooth inhalations and exhalations. This tradition ishanded down from Patañajali. The quotations fromN¡thamuni are those that my ¡c¡rya dictated at dif-ferent times in my classes.

Generally speaking, women who have beendoing ¡sanas prior to becoming pregnant may con-tinue to practice yoga during pregnancy, except forforward-bending exercises and certain kriy¡s likekap¡labh¡ti. They should also refrain from doing≈•rß¡sana, sarv¡©g¡sana, and other more compli-cated inverted postures after the sixth month. Their

diet should be nourishing, and they should create peaceful conditions at home. Mod-erate, carefully selected exercises such as those given above may be done for abouthalf an hour per day to keep the body and mind fit to facilitate natural childbirth. Afew precautions are necessary, however.

Vegena dh¡vanam, n¡tyamucchai˙ ghoßanam parityajetgarbhap¡to vik¡rasca≈iß¶ya antaiva na sam≈aya˙

“Running fast, dancing, and shouting in a high-pitched voice are to be avoided bypregnant women.” These precautions are necessary, for violent movements such asthese may lead to abortion, harm to the fetus, and even stillbirth. It is also neces-sary to take particular care to maintain harmony with one’s husband (patipriy¡);likewise, the husband should take care not to disturb the harmony of the expectantmother. In cases of sleep disturbance during pregnancy, which condition is quitecommon, it is suggested that the expectant mother regularly practice ujj¡y•pr¡∆¡y¡ma, while sitting in padm¡sana: Yadi nidr¡ vibha©gasy¡th ujj¡y• abhy¡sethsad¡.

There are many variations in the practice of ujj¡y•, and here the simplest, anu-loma ujj¡y•, is explained for practice by the garbhin• (expectant mother). Sit in any¡sana, preferably padm¡sana. Do the chin lock, j¡landhara bandha, stretching thespine in the process. Both arms should be stretched with palms kept on the knees.The palms should be open and the fingers kept together. The elbows should not bebent. Breathe in slowly and evenly—the breath should be drawn in through both nos-trils, but with a rubbing sensation in the throat that makes a hissing noise. The breath-ing sensation (the vibration), however, if done properly will be felt as far down asthe diaphragm. The breath may be held for a few seconds (mita kumbhaka) or this


Bharadv¡j¡sana

may be dispensed with if it is difficult to do. Holding the breath is done by constrict-ing the throat and not by closing the nostrils, as is done in other pr¡∆¡y¡mas such asn¡∂• ≈odhana. The arms should remain outstretched. Bring the right hand to the nosewith the fingers in mƒg•mudr¡ (thumb, little, and ring fingers kept straight and theother two fingers bent), and through each of the nostrils the inhalations and exhala-tions are alternately regulated. The exhalation should be done as slowly and evenlyas possible. After the exhalation is completed, the right arm is brought back to itsoriginal position of being stretched, with the palm on the kneecap.

Pr¡∆¡y¡ma should be practiced without kap¡labh¡ti or bhastrik¡, nor should itbe interspersed with udd•y¡na bandha. J¡landhara bandha, however, should bemaintained since it is helpful in the control of ap¡na v¡yu.

After the fifth month, a garbhin• should practice pr¡∆¡y¡ma regularly. Twopr¡∆¡y¡mas that are recommended are ≈•tal• and n¡∂• ≈odhana. ˛•tal• is said tohave a cooling effect on the system, and n¡∂• ≈odhana removes toxins from the sys-tem. This last is a very important pr¡∆¡y¡ma according to my ¡c¡rya, and in hisYogañjali, it is said that n¡∂•s are the breeding ground for all disease, and n¡∂•≈odhana pr¡∆¡y¡ma purifies the various n¡∂•s.

In addition, the garbhin• should avoid all gossip and purposeless small talk(vyartasamvada) and delusion, and be careful not to let the mind go fickle (cancala)by letting in too many external influences. Daily p¶j¡ or prayer (parabhakti) accord-ing to tradition and respect for one’s ¡c¡rya will go a long way toward maintainingmental equipoise for an expectant mother.

Certain prenatal yogic exercises and pr¡∆¡y¡mas have been described so far,along with a few necessary restrictions (niyama).

After childbirth, the regular practice of yoga may be started in about one month.The mother may start doing long, smooth recaka and p¶raka (exhalation and inhala-tion), however, after ten days and for ten- to fifteen-minute stretches. The kumb-hakas should be kept very short, two to five seconds. After one month, ¡sanas maygradually be practiced. Up to forty days, one may practice ¡sanas for fifteen min-utes in the morning and evening. This may be increased to about half an hour untilthree months have passed. Thereafter, a practice taking three-quarters of an hourshould be undertaken. This may be maintained up to the weaning of the child, whenmenstruation normally starts again. After the third month, medication used to begiven for what is termed garbh¡≈aya ≈uddhi, or purification and regeneration of theuterus. Among the ¡sanas that normalize the uterus, specific mention should bemade of utka†¡sana, sankat¡sana, and kar∆ap•d¡sana. These ¡sanas massage thepelvic organs and improve vascularity, and thus help to cleanse the garbh¡≈aya.

When should girls take to yoga? They may start after their fifth year. However,they should be taught to practice yama and niyama along with ¡sanas, and they areusually not initiated into pr¡∆¡y¡ma unitl their fourteenth year, or about the onset


of puberty. The ¡sanas, however, can be done with regulated breathing. Since in theolden days girls were married before they became rajasval¡s (pubescent), theycould practice pr¡∆¡y¡ma after marriage. From their eighteenth year they couldtake up praty¡h¡ra and dh¡ra∆¡ (meditation) on a ≈ubh¡≈raya (object) or a pleasantm¶rti (image of a deity), and these practices may be continued during the child-bearing years until age forty-five, or when the stage of menopause is reached. Thenthose who are inclined to become brahmav¡dins, or those spiritually inclined, maywork on the other two a©gas of dhy¡na and sam¡dhi, under the guidance of a guru.Or else they may continue with their daily p¶j¡ culminating in dh¡ra∆¡. All theother a©gas may be observed and practiced regularly.

In a seminar on family planning organized by a voluntary organization, some-one once remarked in jest that since yoga is mentioned these days as a cure-all, whynot yoga for family planning? Yogis have studied this subject in some depth andhave recommended yog¡sanas that act as contraceptives for women. These are,however, very difficult postures that need to be practiced from an early age. Unlessyoga is taught at a young age, its benefits, including the one under considerationhere, will have a limited application. The culture of yoga practice, which is part ofour heritage, should be inculcated early in life to derive the widest range of physi-cal, physiological, psychological, mental, and spiritual benefits. Sage N¡thamuni’sprescription for contraception is given in a capsule:

P¡≈¡sanam yoganidr¡garbhapi∆∂añca bhadrakammatsyendra ¡sanamityetesarvagarbha nirodhak¡˙

Bahikumbhaka yuktiƒ˙pr¡∆¡yamasca samyutaya˙dhiaihi tribandhanaiscabhaveyu˙ yadi nitya≈a˙

“P¡≈¡sana (noose posture), yoganidr¡ (yogic reclining posture), garbhapi∆∂a (fetusposture), bhadr¡sana, matsyendra—when these are mastered and practiced, con-ception will be prevented. Further, pr¡∆¡y¡ma should be practiced regularly withemphasis on b¡hya-kumbhaka, along with the three bandhas, j¡landhara, m¶la, andudd•y¡na.” These powerful ¡sanas, which work on the pelvic organs, provide theright amount of controlled pressure and twisting or squeezing of the uterus, and ifaided by the bandhas in b¡hya-kumbhaka, they should prevent, if properly done, theembedding of the fertilized ovum in the uterine walls.

For p¡≈¡sana, start from samasthiti and keep the chin locked. Inhaling, raise


both arms overhead, interlock the fingers, and turn the palms outward. On the nextexhalation, press your feet and slowly twist your right side. Stay for a few breaths.Then exhale again slowly and deeply, lower your trunk, and bend your knees as inutka†¡sana, except that your trunk should be at a right angle to your legs. In thisposition, exhaling completely, draw up your rectum and lower abdomen and placeyour armpit on the outer side of your right thigh, just below the knee. On the nextexhalation, stretch your left arm and turn it around your right thigh. Then bend yourelbow to take your forearm backward so that your left hand is near your left hip.Take a breath and maintain your balance. On the next exhalation, turn your rightarm from the shoulder in the opposite direction behind your back to meet your hand,keeping your fingers interlocked. Stay for a few breaths. Then breathe in andexhale completely, drawing in your lower abdomen again and twisting a little more,holding your left wrist with your right hand. Turn and look over your right shoulder.Stay for a few breaths, raising your pelvic diaphragm on each exhalation. Theinhalation will be short, but the exhalation will be long and smooth. On every exha-lation tighten your grip, feeling greater pressure on the pelvic region and a mildtwist in those organs. After a few breaths, return to samasthiti on inhalation.

Some of the ¡sanas that prepare one for p¡≈¡sana are utka†¡sana, ardhamat-syendr¡sana, p¡r≈va-bha©g• in t¡∂¡sana, p¡r≈va-utt¡n¡sana, and mar•cy¡sana.Long, smooth exhalation also helps in attaining the posture. This ¡sana appliestremendous pressure around the pelvis. It may be done lying down. ⁄sanas that helpone perform p¡≈¡sana are pa≈cima-utt¡n¡sana, upaviß†hako∆¡sana, k¶rm¡sana,and kar∆ap•d¡sana, as well as long and smooth exhalation. Ekap¡da anddvip¡da≈•rß¡sana will also be helpful.

For yoganidr¡, start withsamasthiti and proceed toutt¡n¡sana on exhalation. Then,holding the breath, jump back tocatur¡©gada∆∂¡sana. Exhale,hold the breath, and jump for-ward to da∆∂¡sana. Lie back oninhalation. Then, deeply exhal-ing, draw both legs overhead,bending your knees. Exhale anddraw your left leg behind yourleft shoulder. Stay for a fewbreaths. On the next exhalation,draw your right leg farther upand slip it behind your rightshoulder so that your ankles are


P¡≈¡sana (rear view)P¡≈¡sana

placed one on top of the other supporting your back.In this position, your back will be supported by yourlegs and ankles forming a base like a bed with theback resting upon it. Now slowly stretch your spineon exhalation, take your arms around your thighs,and clasp your right wrist with your left hand behindyour back. Stretch your neck and try to straightenyour spine. There is a peculiar, tremendous stretch-ing of the pelvic as well as a fair amount of pres-sure. This posture, along with dvip¡da≈•rß¡sana,may be practiced for a period of time by those whoare habitual aborters and then discontinued, which

may help one in becoming pregnant. So long as these ¡sanas arepracticed regularly, they act as contraceptives.

Yoganidr¡ is a great help, according to ancient wisdom, in pre-venting lung disease, tuberculosis, flatulence, and other abdomi-nal diseases of the spleen, liver, and stomach. It helps tostrengthen the sv¡dhiß†h¡na and brahmaguha (“cave of the heart”)cakras for longevity. It controls ap¡na v¡yu, and hence the pelvicorgans get strengthened.

The ¡sana known as garbhapi∆∂¡sana resembles a fetus. It iscomparatively easy to follow. The procedure is the same up topadm¡sana. Then slowly exhale, lean forward, and insert yourhands—relaxing the shoulders—between your thigh and calf mus-cles until your elbows are through. Press the buttocks and, anchor-ing the coccyx, raise your lower extremities, lean forward, andhold the back of your head with your palms while exhaling deeply.As you exhale again, tighten your grip, straighten your spine, and

draw your thighs close to your pelvis. Stay for a fewbreaths, made up of short inhalations and long, deepexhalations. Remain in this posture for a fewbreaths. Loosen the lock. Repeat with legs crossed,but changing the order of the bending of the legs forpadm¡sana. From garbhapi∆∂¡sana, one may lieback to do utt¡nak¶rm¡sana. Both ¡sanas put agreat deal of pressure on the pelvic organs.

Among the ha†hayogis of the n¡thasamaprad¡ya, Matsyendran¡tha, as his name indi-cates, was considered foremost among them. The¡sana named after him is a masterpiece of yog¡sana


Yoganidr¡

Garbhapi∆∂¡sana

Utt¡nak¶rm¡sana

that shows the grace, poise, and strength of yogaand has great therapeutic value. ⁄sanas that help toprepare one for doing this posture are ardhamat-syendr¡sana, parivƒttapar≈vako∆¡sana, p¡≈¡sana,mar•cy¡sana, and breathing practices that includelong recaka and udd•y¡na bandha.

Start from samasthiti and proceed to da∆∂¡sana.Exhale and place your right leg on top of your leftthigh, with your heel pressing the side of your navel.Stay for a breath. Draw your left knee up towardyour body so that it is up to the chest, pressing yourright heel against the abdomen in the process. Onthe next exhalation, slowly place your left foot outside your rightknee and beside your right thigh! Stay for a few exhalations. Onthe next deep exhalation, anchoring your coccyx, twist your spineand turn your trunk toward your left side. This should be donesmoothly so that your right armpit is outside your right knee. Push-ing your chest forward, bring your right arm around and hold yourleft big toe. On the next exhalation, bring your left hand frombehind and hold your right thigh near the groin. Stay for sixbreaths. On each exhalation, draw in the rectum and the lowerabdomen and twist a little more, looking over your left shoulder.Then inhale and return step by step to da∆∂¡sana. Repeat on theother side. It should be noted that in matsyendr¡sana, unlike theprevious two ¡sanas, there is also a twisting of the spine and pelvicorgans, which is, to a certain extent, also experienced in p¡≈¡sana.In matsyendr¡sana, the heel is placed between the pubic bone andthe iliac crest and with the crossing of the leg it is anchored by theside of the uterus, and in this posture the uterus is wrung, as itwere. This is a very difficult posture to achieve and master, however. The otherbenefits of matsyendr¡sana are mentioned in the Ha†hayogaprad•pik¡:

Matsyendrap•†am ja†haraprad•pampracan∂arugma∆∂ala khandan¡stramabhy¡sata˙ ku∆∂alin•prabhodamcandrasthiram ca dad¡tipums¡m.

“Matsyendr¡sana activates ja†har¡gni and thoroughly eradicates all chronic ail-ments. It activates ku∆∂alin• and gives mental steadiness.” An anecdote is toldabout Matsyendra. Once, Lord ˛iva, the ⁄din¡tha, retiring to an uninhabited island


Ardhamatsyendr¡sana

Mar•cy¡sana (sthiti)

and thinking it deserted, started tutoring his spouse Girij¡ on thesecrets of ha†hayoga. A fish, remaining near the shore, started lis-tening intently to those instructions. Thus it attained high concen-tration (ek¡grata) and remained steady in the waters withabsolutely no movement. Noticing the fish, which was in sam¡dhi,the Lord realized that yoga had been learned by the fish, and outof great compassion (krip¡lu), he sprinkled (prokßitav¡n) water onthe fish. With that the fish, known as Matsyendra, instantlyattained its celestial body and was transformed into a siddha,thereafter becoming a great teacher of yoga. The ¡sana namedafter him is matsyendr¡sana and resembles a fish that is twistingand beautifully poised.

The ¡sanas that can help prevent conception, it should benoted, do not work in all circumstances, the way a pill might work.Thus, unless one has been practicing yoga from a young age,

these ¡sanas may not be of much practical value. But womennot only can maintain good health, even as they follow thegƒh¡sta dharma (the code of conduct for family life) as pro-pounded by Manu, but they also can make use of yoga prac-tice for str•dharma (the women’s code of conduct). Accordingto my ¡c¡rya, and apart from the above-mentioned ¡sanas,women can practice mar•cy¡sana, ardhamatsyendr¡sana,baddhako∆¡sana, baddhapadm¡sana, and dhanur¡sana whileexhaling, and the emphasis should be on exhalation whileremaining in the postures. ˛•rß¡sana with udd•y¡na bandhaand ¡kuncan¡sana with b¡hya-kumbhaka will help in familyplanning (mit¡ sant¡na), and will also help the mind to prac-tice dhy¡na later on. Needless to say, these ¡sanas should bepracticed only under the guidance of a proper guru. These par-

ticular ¡sanas and pr¡∆¡y¡mas, which emphasize b¡hya-kumbhaka and the threebandhas, especially udd•y¡na bandha, are the very ¡sanas and bandhas to beavoided during pregnancy.

Matsyendr¡sana (pur∆a)

Matsyendr¡sana (rear view)


15Yoga Texts

THERE ARE MANY FASCINATING WORKS on yoga found in agrah¡rams(communities) and certain households that are treasuries of yogic information,experiences, and instructions written by different yogis, munis, and siddh¡s. Theseworks contain instructions about many unknown and lesser-known ¡sanas(gupt¡sanas), therapeutic practices, and meditative techniques. Except for a few,many of these manuscripts have not seen the light of the day. According to my¡c¡rya, who himself did considerable research on these ancient works and evolvedhis yogapaddhati in part from them, it would be very rewarding for a researchworker in yoga to investigate these texts. The present-day teaching of a few ¡sanas,assorted meditations, and other practices only skims the surface of one of the bril-liant legacies of our ancient heritage.

A number of the texts have, however, been edited and printed. The most promi-nent of them all are Patañjali’s Yogas¶tras and the Ha†hayogaprad•pik¡ ofSv¡tm¡r¡ma. A brief description of some of the other, lesser-known works will befound in this chapter.

A very important text, useful from all angles, including therapy (cikitsa), is theYoga Rahasya of N¡thamuni, a descendant of the great n¡tha group of yogis. Imade an observation about the authorship of this book in chapter 1. Chapter 14 dis-cussed some practical gynecological hints covered in this text.

Yoga encompasses a variety of disciplines, and therapy is certainly one of them.Many yogic texts prescribe a course of ¡sanas and pr¡∆¡y¡ma for specific ailments,but the claims of some of them appear to be somewhat exaggerated, obscure, andincomplete. Further, different schools and teachers have developed their own

combinations and methods, making claims that raise genuine doubts among the laypublic and understandable resentment among medical men not subscribing toindigenous medicine. But one cannot deny that there is considerable scope for a dis-passionate study of yogic texts, systems, and practices that brings to light the bene-fits of yoga for modern times. One has to approach the yogic texts with full faith, atleast in the initial stages, since they are the works of great ƒßis. And a ƒßi is one whospeaks the truth.

While on the subject of yoga’s therapeutic value, it may be worthwhile to listsome of the ailments that are supposed to respond to yog¡sanas and pr¡∆¡y¡ma.

01. ≈irorogam: different types of headaches. Though not all can be treated,some do respond to yoga.

02. p•na≈ayarogam: diseases of the nose03. jvaram: fever 04. ≈¶lam: shooting pain, especially in the stomach 05. bhagandram: diseases of the generative organs 06. gulma rogam: diseases of the abdomen07. ¡r≈a on guda rogam: rectal disease, especially hemorrhoids 08. ≈vayatu: different kinds of inflammation09. ≈v¡sam: respiratory ailments, dyspnea, asthma, etc.10. chardh•: vomiting liquids, blood11. akßirogam: ailments pertaining to the eyes 12. athisaram: diarrhea 13. kußtam: leprosy; kusta is said to be of two varieties—sveta or “white” and

kƒß∆a or “black.” According to one school, eczema is a variation that maybe dry or weeping.

14. meharogam: disease of sexual organs; STDs15. m¶rca: epilepsy16. apasm¡ram: loss of memory17. nirnidr¡: sleeplessness or insomnia18. kampanam: tremors 19. ukk¶: stammering 20. yakƒtu: liver diseases; jaundice21. hƒdrogam: heart palpitations; heart ailments

Yoga also recognizes mental or psychological diseases (treatment for whichsiddh¡nta, yoga practice including pr¡∆¡y¡ma and dhy¡na, is recommended). Men-tal illness is brought about by k¡ma (infatuation), krodha (anger), bhaya (fear),dveßa (hatred), lobha (greed), viß¡dam (confusion), ≈oka (sorrow), as¶y¡ (intoler-ance), avam¡nam (guilt or loss of self-respect), •rßy¡ (envy), m¡tsaryam (malice).

C 228 Yoga Texts

Apart from Patañali’s Yogas¶tras, the Ha†hayogaprad•pik¡ is arguably the mostauthentic and exhaustive work on ha†hayoga. It consists of four chapters, orupade≈as. A detailed commentary by a sage called Brahm¡nanda and written insimple Sanskrit makes it a very useful reference work. The four upade≈as focus on¡sana, kumbhaka, mudr¡s, and n¡d¡nusandh¡nam, or meditation on a mysticalsound. The first three are ha†hayoga and the fourth is supposedly r¡jayoga, the mainpractice in which is n¡d¡nusandh¡nam. Other yoga postures that are not mentionedin the Ha†hayogaprad•pik¡, such as va≈ißt¡sana, d¶rv¡s¡sana, k¡labhairav¡sana,saya∆¡sana, buddh¡sana, mar•cy¡sana, bharadv¡j¡sana, ka≈yap¡sana, andkau∆diny¡sana, are named after great sages and indicate works by these ƒßis.

The other main ha†hayoga texts are the ˛iva Saµhit¡ and the Ghera∆∂aSaµhit¡, and yet another important source of yogic information is the Upanißads.Twenty of the 108 Upanißads, starting from the °≈a Upanißad, for which ˛r•Upanißad-Brahmayogin has written commentaries, are termed Yoga Upanißads anddescribe different kinds of yogas. The ˛vet¡≈vatara and other major Upanißads suchas Ch¡ndogya (especially Dahara Vidy¡, Bh¶ma Vidy¡), are important ones for theyoga student.

The ˛a∆∂ilya Upanißad is from the Atharva Veda. The first chapter describesaß†¡©gayoga, but it follows the ha†hayoga authorities in prescribing ten yamas andten niyamas for the first two a©gas. (In Patañjali’s aß†¡©gayoga, only five yamasand five niyamas are prescribed.) The eight ¡sanas described are the svastika,gomukha, padma, v•ra, siµha, bhadra, mukta, and may¶ra ¡sanas. There are alsointeresting observations in the text about the locations of the n¡∂•s and cakras. Thefourteen n¡∂•s described are i∂¡, pi©gal¡, sußum∆¡, sarasvat•, varu∆a, p¶ß¡, hasthi-jihv¡, ya≈a≈vini, visvodhar¡, kuhª, saµkhin•, paya≈vin•, alambuß¡, and g¡ndh¡r•.The important n¡∂• ≈odhana pr¡∆¡y¡ma is described, followed by a description ofsamantra pr¡∆¡y¡ma. The various bandhas and mudr¡s are then taken up, followedby discussion of the various kinds of visual attention (dƒß†is). The fifth a©ga,praty¡h¡ra, is presented in five different ways, based on different schools of yoga:The withdrawal of the senses is one; observing the self (¡tmabh¡va) in everythingis the second form of praty¡h¡ra; renouncing the fruits of all prescribed activities isthe third; total indifference to all things (para©gmukhatvam) is the fourth; anddirecting attention to the eighteen vital places in the body (marmasth¡na) is the fifthkind of praty¡h¡ra. The sixth a©ga—dh¡r¡∆¡—is said to consist of five types.Dh¡ra∆¡ is focusing the mind and keeping it bound at a place, such as the heartregion (dahar¡ka≈a), or in space, or on the worship of forms (pañcam¶rti dh¡ra∆¡).Dhy¡na is of two kinds, sagu∆am and nirgu∆am. Sagu∆a, according to the S¡∆∂ilyaUpanißad, is meditating on the form of the Lord (m¶rtidhy¡nam); nirgu∆a is medi-tating on the Self without any attributes, that is, beyond the three gu∆as. Sam¡dhi isthe state of unity of j•va and parama, without distinction among the observed,

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observer, and observing (triput•): Jiv¡tma param¡tma aikyavasth¡ triputirahitaparam¡nandasvarupa ≈udhachaitanyatmika bhavati. This is known as asamprajñatasam¡dhi.

Other yoga texts that may be of interest include: Dhy¡nabindu Upanißad;Advayat¡raka Upanißad; ˛vet¡≈vatara Upanißad; Garbha Upanißad; Yoga Kuran-tam (as mentioned by my ¡c¡rya); Vƒddha S¡t¡patam; Tejabindu Upanißad;Ghera∆∂a Saµhit¡; Yoga T¡r¡vali; Yoga≈ira Upanißad; Advitananda Upanißad;Tri≈ikhibr¡hma∆a Upanißad; ˛iva Saµhit¡; Brahmavidy¡ Upanißad; Yoga≈ikhaUpanißad; Yogaku∆∂al• Upanißad; N¡dabindu Upanißad; Dar≈ana Upanißad;Amƒtabindu Upanißad; Yogacud¡manya Upanißad; Yogatattva Upanißad; ˛ambhuRahasya; Yoga Rahasya; S¶ta Saµhit¡; Yoga Y¡jñyavalkya; and Yoga Vasiß†ha.

There are many other sources for information on yoga. The Pur¡∆as containmany valuable hints. Some Tantric texts are also good sources, as are theVaiß∆avite, ˛¡kta, and ˛aivite Upanißads. With the renewed interest in yoga, thereis plenty of scope for both practice and research in yoga.

Let us look at the yogis’ view of the human body. One text says: “At the time ofbirth, the body is naturally composed of v¡ta, pitta, and kapha. But later on, if theappropriate v¡yus do not flow properly in the different n¡∂•s, then diseases result,leading to death.” Even though there are many medicines for the treatment of differ-ent ailments, it is also necessary that the pr¡∆as flow in the n¡∂•s without let or hin-drance. If the v¡yu sanc¡ra (flow of vital energy) is not proper, then medications willbe of no avail. The specific a©ga of yoga, pr¡∆¡y¡ma, is therefore very important inthe treatment of diseases. And for success in pr¡∆¡y¡ma, the cause of the accumula-tion of dross, or mala, in the body, that is, the three doßas, should not be in excess. Anyexcess is easily discerned by such symptoms as tremor, heavy and shallow breathing(as against fine and deep breathing), pain in the joints, glandular inflammation, anddigestive disorders. These conditions prevent the proper flow of the v¡yus, leading tomore serious ailments and a shortening of the life span. In order to do pr¡∆¡y¡ma reg-ularly, it is necessary to practice the various ¡sanas with the necessary viny¡sas,accompanied by coordinated breathing and kriy¡s to clean the n¡∂•s.

The macrocosm is made up of three gu∆as, as described in the philosophical sys-tems of S¡µkhya, Ved¡nta, and Yoga, and so is the body. Yogis divide the bodyinto three parts according to the gu∆as, the sattvic, rajasic, and tamasic. The head,which is the sattvic part, contains the perceptive organs, or jñ¡nendriyas. These arethe eyes, nose, ears, and tongue. This sattvic part helps the individual toward under-standing of correct living (dharma) and discrimination between good and evil. Thejñanendriyas, remaining in their respective positions in the head, help the mind.Sattva—the quality yoga attempts to bring out as the dominant gu∆a in the individ-ual—is known by brightness (prak¡≈a) and lightness (laghutva), as is said in theS¡µkhya K¡rik¡ of °≈varakƒß∆a: Sattvam laghu prakasakam istam.

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The nature of rajas is activity, and the rajasic part, which is between the headand navel, helps the sattvic and tamasic parts in their respective natures. The tama-sic portion has the properties of heaviness (gurutva) and obstruction or screening(¡varana). The none-too-desirable tamasic quality becomes the predominant onethrough lack of yogic practices, eating the wrong types of food, and so on, in bothobese and lean body types. Such people complain about heaviness in their lowerextremities. According to yogis, when tamas predominates, dross accumulates inthe lower abdomen and clogs the n¡∂•s with mala, thus preventing the proper v¡yusanc¡ra in the n¡∂•s. The lower abdomen is the part of the body where the n¡∂•sconverge and, if not taken care of, becomes the breeding ground of all ailments.Yogic science, by the judicious use of ¡sanas, the bandhas, and appropriatepr¡∆¡y¡mas, makes the agni tattva (fire element) in the body active, which helps toremove the malas.

Certain specific yogic exercises are recommended to help bring out sattva in thesattvic part and to reduce the effect of tamas in the tamasic part of the body. Forinstance, the following exercises help the sattvic part and give the abhy¡s• goodmemory, power of concentration, intelligence, and long life:

1. Among ¡sanas, ≈•rß¡sana and its many variations or viny¡sas. 2. Among mudr¡s, mah¡mudr¡ performed with long inhalations and exhalations

on both sides of the body. 3. Among the bandhas and j¡landhara bandha, both while practicing

pr¡∆¡y¡ma and ¡sanas, or wherever appropriate. 4. Among the pr¡∆¡y¡mas, n¡∂• ≈odhana.5. Among the kumbhakas, ujj¡y• and s¶ryabheda.

The rajasic part of the body is kept healthy, strong, and active by a few specificexercises. Practiced regularly, these help to prevent weakness of the heart and toimprove circulation:

1. Among the ¡sanas, sarv¡©g¡sana and its viny¡sas. 2. Among the special postures, vasiß†h¡sana. 3. Among the bandhas, udd•y¡na bandha; this should be practiced at the appro-

priate stage of breathing, even in ¡sanas such as sarv¡©g¡sana.4. Among the kriy¡s, kap¡labh¡ti kriy¡ or bhastri. 5. Among the pr¡∆¡y¡mas or kumbhakas, ≈•tal• pr¡∆¡y¡ma.

The tamasic part is cleaned and kept in good condition by the following ¡sanas.When this part is kept well exercised by yogic ¡sanas, one feels extremely light andsupple, and hence young.

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1. Pa≈cimat¡n¡sana, or the posterior-stretching posture, helps stretch the mus-cles and joints in the lower extremities.

2. Matsyendr¡sana, a masterful ¡sana of grace, poise, strength, and efficiency,along with its variations, helps massage the lower abdomen as well assqueeze the ankle, knee, and hip joints.

3. Baddhapadm¡sana helps reduce heaviness around the vulnerable lowerabdomen.

4. Mar•cy¡sana, named after Mar•ci Mah¡ƒßi, and its variations help reduce thelower abdomen, hips, and thighs.

5. Ja†haraparivƒiti helps the hips and cuts to size the sides of the body and thelegs.

6. Among the kumbhakas, n¡∂• ≈odhana, ujj¡y•, and s¶ryabheda.

The above lists are general. The yoga therapist can prescribe many other ¡sanasand viny¡sas in standing, sitting, and lying-down positions, including twisting move-ments. Though some may doubt the efficacy of these viny¡sas, each variation hasbeen found to have particular applications for some diseases and conditions, in thesame way that medical science prescribes different medicines for various ailmentsin different parts of the body. In fact, yogic science has numerous fundamental andhybrid ¡sanas and pr¡∆¡y¡mas for the eradication of different ailments in differentparts of the body for different kinds of people.

Bodily functions are maintained by the ten v¡yus, and it is necessary to knowtheir location and function. These v¡yus should be strong and the n¡∂•s in fine fet-tle for one to enjoy good health. The ten v¡yus consist of five mukhya (important)v¡yus—pr¡∆a, ap¡na, sam¡na, ud¡na, and vy¡na—and five that are less impor-tant—n¡ga, k¶rma, kƒkara, devadatta, and dhanañjaya. Of the first five, pr¡∆a andap¡na are the most important, and it is their integration that is ha†hayoga. Accord-ing to yogis, pr¡∆a v¡yu is the chief of all. The station of pr¡∆a is hƒdaya (the heart).Its function is to draw fresh air from the outside and keep the body’s agni tattvaactive, so as to remove dross from the body and increase longevity. By the practiceof stipulated activities such as yog¡sanas and pr¡∆¡y¡ma, the pr¡∆a’s influenceextends through the appropriate n¡∂•s to the face (mukha), nose (n¡sika), chest(hƒnmadhya), navel (n¡bhi), and even to the toes (p¡da©guß†ha). Ap¡na is the v¡yunext in importance. Centered in the rectal region (gudhasth¡na), it acts to excrete,and its influence (by correct living and practice) extends to the abdomen (udara),testes (vƒßa∆a), hips, thighs, and generative organs. This whole area is called thehouse of ap¡na, or ap¡na nilaya. Vy¡na, as its name indicates, permeates the wholebody and helps to maintain the tissues, marrow, medhas (brain), and so on. It helpsthe flow of blood and other fluids in their various conduits (n¡la). Its range is men-tioned particularly as being around the ears, neck, eyes, and head. Ud¡na, remain-

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ing in the gullet (kan†ha), helps remove the doßa of excess kapha and helps controlthe instrument of speech, and hence modulation (dhvan•) of the voice. It is said tokeep the various joints (sandhi) in proper working condition. Sam¡na v¡yu, remain-ing in the center of the body (the navel region for humans), acts as the great homog-enizer of food and subsequently metabolizes with the right functioning ofja†har¡gni. The v¡yus thus maintain bodily functions, provided they are strong andthe 72,000 n¡∂•s that act as their pathways are not obstructed with roadblocks. Ofthe remaining five v¡yus, n¡ga is the belcher; k¶rma does the job of periodic blink-ing, thereby protecting the eyes; kƒkara controls sneezing, thus keeping thenasopharynx free of dust and phlegm; devadata helps one yawn when the intake ofpr¡∆a v¡yu is low; and dhanañjaya maintains the body’s temperature within thespecified limits and keeps the body warm for up to four hours after death. V¡yusand n¡∂•s have to work in unison for the proper functioning of the various organs.Hence it is necessary to know the location, function, and sphere of activity of thev¡yus, as well as the location and pathway of important n¡∂•s, in order to takeappropriate remedial action.

Yoga philosophy also mentions a few other bodily principles that should beclearly understood by the abhy¡s•. The principle of fire, or anala, is said to be in theshape of a triangle (triko∆a) having its flame always pointing upward. It is in theregion of the n¡bhi, or navel. This is a very important principle, especially forku∆∂alin• arousal and for both physical health and the supernatural experiencesmentioned in many yogic texts. Just as the body is divided according to the gu∆as,so it is also divided into five regions based on the subtle aspects of the five bh¶tas,or elements. The body is made up of these five principles, and the goal is to reducethe pƒthv• tattva and increase the other tattvas. Special dh¡ra∆¡s are mentioned forlocating the centers of these principles in the body, and each has its special locale.Pƒthv•, or the earth principle, is from the feet to the knees (p¡d¡dij¡nuparynatam);the stretch from the knees to the rectum is called the region of water, or ap; the rec-tum to chest (hƒnmadhya) region is called vahnisth¡na, or fire region; the area frommidheart to the middle of the eyebrows (bhrumadhya) is the v¡yu, or air, region;and from there to the top of the head (m¶rdhantam) is the ¡k¡≈asth¡na, or the regionof ether (or space). There are variations in these divisions among various scholars.

Yogic texts also refer to the eighteen different vital points in the body calledmarmasth¡na, which were determined by the A≈vins, the physicians of the gods. Asrecorded in the Yoga Upanißad:

Pada©guß†ha gulpha jhangh¡j¡n¶ru p¡yu me∂ra n¡bhi hƒdayakan†ak¶pa t¡lu nasik¡sinetram talu nasikasinetrambhr¶nmadhya lal¡ta m¶rdhni sth¡nam

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These vital sth¡nas are the two big toes; the backs of the heels; the skin; the knees;the groin; the rectum; the perineum (and generative organ); the navel; the heart; thegullet; the upper palate; the nose; the eyes; between the eyebrows; the forehead;and the top of the head. Thus, in examining a patient, the following aspects areobserved by yogis:

01. The two big toes02. Both joints above the heels03. Both knee joints04. The thigh joints05. The s•van• n¡∂• below the genitals06. The genitals07. The navel08. The heartbeat09. The tone of speech and the throat10. The pit below the throat (ka∆†a k¶pa)11. Breathing12. The muscle between the eyebrows13. The tongue, its color and movement14. The face and expression15. The head and its movements16. The temperature at the top of the head

The approach to yoga these days may be classified in three ways. First, Yoga istreated as a Vedic philosophy based on the s¶tras of Patañjali. It deals with allaspects of sam¡dhi—its prerequisites and ramifications—and culminates in the real-ization of the distinctive natures of both prakƒti and purußa, or indwelling conscious-ness. This realization leads to kaivalya or mokßa, according to Yoga philosophy.

Second, yoga is treated as an art and as a complete physical culture (sarv¡©gas¡dhana). The many ¡sanas and their variations, along with coordinated breathing,are what make it an art, and it is considered one of the sixty-four arts (kal¡s orvidy¡s). This physical culture itself is fascinating to many. Third, yoga is consideredto be a therapy for many ailments, and as both curative and especially preventive.Naturally the therapeutic approach (cikitsa krama) will be distinctly different fromthat of the student of yoga who approaches it as an art or a philosophy. Many textstalk about the benefits of certain ¡sanas, pr¡∆¡y¡mas, mudr¡s, bandhas, and so on.According to ⁄yurveda, those diseases that are chronic and that cannot be cured(as¡dhya) or completely eradicated by medicine alone can and should be treatedwith yog¡sanas and pr¡∆¡y¡mas.

Finally, certain texts talk about yoga practice being structured according toone’s age. These sources divide people according to their stage of life and suggestdifferent approaches. Those approaches are called ≈ƒß†i, sthiti, and laya. Certain¡sanas and viny¡sas should be done during the age of growth (≈ƒß†i), others duringmiddle age, when there is neither growth nor decay, and still others during theperiod of decay, called the laya krama.

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16Antaran.ga Sa-dhana

IN PREVIOUS CHAPTERS MANY GROUPS of yog¡sanas and pr¡∆¡y¡mas havebeen explained, along with their benefits. While these ha†hayoga practices offermany physical and physiological benefits, Patañjali would urge aspirants to go beyondthem and work toward the transformation of the mind (citta pari∆¡ma) itself. Thispractice, known as antara©ga s¡dhana, helps create qualitative and permanentchanges in the citta by means of practice, and these changes increase and succes-sively strengthen the saµsk¡ras (habits) of nirodha, sam¡dhi, and ek¡grata, to theexclusion of the distracted (vyuthita) saµsk¡ras. Pr¡∆¡y¡ma helps to reduce thepainful and distracting tendencies of citta when it leans toward becoming predomi-nantly sattvic. Such a sattvic mind also becomes capable of concentrating and hold-ing onto subtle objects.

Many of us stop with ¡sanas and pr¡∆¡y¡ma. While by themselves these offermany benefits, such as physical health and sufficient mental clarity to carry on one’sday-to-day work, other psychological experiences and the ultimate spiritual experi-ence require further rigorous practice. Since we usually return to our normal way ofthinking after practicing these first two aspects of s¡dhana, the senses will continueto distract the mind. Alternating between rudimentary yog¡bhy¡sa and sensual activ-ities, we may wonder about the real efficacy of yoga s¡dhana.

Praty¡h¡ra, the fifth a©ga of yoga, helps prevent this backward slide. The mainantagonist to further yog¡bhy¡sa is the indulgence through the sensual objects thatlead again to passion and delusion. Practicing yamaniyama, ¡sana, and pr¡∆¡y¡maleads to mental clarity, and the influence of the indriyas on the mind is greatly

reduced. There is also a better awareness of the spotless sattvic aspect of citta, andthe indriyas also become sattvic, merging, as it were, with the citta sattva; that is, asthe citta is given other, subtler tattvas, the indriyas do not cause any interference.

Praty¡h¡ra, some suggest, is a result of ¡sana and pr¡∆¡y¡ma, while others sayit is also a specific practice. ˛a∆mukh•mudr¡, a simple exercise mentioned earlier,helps strengthen the praty¡h¡ra habit. But a fundamental decision about whatobject, or tattva, should be used for contemplation by the now free sattvic cittaneeds to be made. On this question, there are as many views as there are schools.For instance, ha†hayogis refer to n¡d¡nu≈a©dh¡na, or listening to the an¡hata(which literally means the “unstruck sound,” or the sound produced without the rub-bing of two objects) made possible by ≈a∆mukh•mudr¡, and this should beattempted. The third chapter of the Yogas¶tras is devoted exclusively to the tech-nique of concentration, the tattvas to be used for concentration, and the benefits, orsiddhis, that accrue to the abhy¡s•. The technique itself consists of three stages, buttaken as one it is called saµyama, or antara©ga s¡dhana. The three parts—dh¡ra∆¡,dhy¡na, and sam¡dhi—represent the different stages of realization, each succeed-ing the other.

In Patañjali’s first chapter, the various aspects of sam¡dhi are described indetail. In the second chapter, the prerequisite practices for making the mind fit fordh¡ra∆¡ are described. In the third chapter, for the sake of creating interest and alsofor those so inclined, certain siddhis are described along with the means for theirattainment. Going back to the question of what should be the object of contempla-tion, Patañjali is delightfully vague so as to accommodate different groups ofantara©ga abhy¡s•s—whether devotees, religious people, bhair¡gis, jñanis, orsiddh¡s. The commentaries and the Pur¡∆as, however, offer some specific guide-lines. Even though by means of the five steps from yama to praty¡h¡ra the basicobstacle that is the restlessness of the citta is greatly reduced, since the citta is basi-cally wandering and unsteady (manascancalam asthiram), without conjoining withan object it does not become steady; hence the need for the support provided by anobject (¡≈raya). But we have excluded, by means of bahira©ga s¡dhana, those con-tacts that produce painful bondage. Thus it is necessary to find the support (¡≈raya)of that object (whether form, thought, or feeling) that, without being the cause of aslide back to bondage, would progressively lead the abhy¡s• to kaivalya (there arevery many names given to this ultimate state of citta) through stages of superiorenlightenment.

Such an object is called a ≈ubh¡≈raya. If the mind, in contacting an object thatdoes not cause it to suffer restlessness and subsequent bondage (bandha), thatobject or support is known as ≈ubh¡≈raya. This ≈ubh¡≈raya can be of two kinds,b¡hya (outer) and antara (inner). It has been the practice to start with b¡hyadh¡ra∆¡. Focusing the mind on a charming m¶rti (statue) of the Lord, made of

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pan÷caloha (five-metal alloy) and, according to the ¡gamas, fortified by the mantra,is b¡hya dh¡ra∆¡. When a devotee, however, by repeated practice, has the citta vƒttiof the enchanting form of the Lord, even without the aid of the vigraha (icon), thenit becomes antara dh¡ra∆¡. Bhakti is not merely the unrestrained emotion of love,but the channeling of the citta toward the divya form of the Lord so that the bhaktahas it always in his citta to the exclusion of all other thoughts, or vƒttis.

The yogis, however, suggest other kinds of antara dh¡ra∆¡ that will be equallyhelpful to bhaktas, jñanis, and bhair¡gis. Focusing attention, as is taught by thesages, on such centers in the body as the navel (nabhi cakra), the heart region(hƒdaya pu∆∂ar•ka), the crown of the head (sahasr¡ra), the tip of the nose (nas¡gra),the tip of the tongue (jihv¡gra), and between the eyebrows (bhr¶madhya) is alsoantara dh¡ra∆¡, which when developed to dhy¡na and sam¡dhi leads to various sid-dhis. The Viß∆u Pur¡∆a states:

Pr¡∆¡y¡mena pavanampraty¡h¡rena ca indriyamva≈•kritya tata˙ kury¡ttats†¡nam subh¡≈rye.

“Having brought [the neurological forces] under control by pr¡∆¡y¡ma, the sensesby praty¡h¡ra, one should resort to contemplation on a peaceful principle for men-tal stability.” According to the Viß∆u Pur¡∆a, antara dh¡ra∆¡ is firmly fixing theenchanting form of the Lord in one’s mind, and this practice of dh¡ra∆¡ should bedone until dhy¡na takes place. The ˛r•mad Bh¡gavata and many other Pur¡∆asdescribe this practice in detail. The differences among dh¡ra∆¡, dhy¡na, andsam¡dhi are subtle, but these have also been described in yogic texts and thePur¡∆as. When the citta, having taken to a ≈ubha object, continues to remain sub-merged in the vƒtti without switching to another, that state of the mind is calleddhy¡na vƒtti. Even though dh¡ra∆¡ is also a citta vƒtti on a single object, there is con-siderable effort in warding off other, intruding vƒttis. In dhy¡na, without effort, themind stays with the object, this according to the Viß∆u Pur¡∆a.

In dhy¡na, the distinction between the meditator (dhy¡ta) and the object of med-itation (dhyeya) remains. But when the distinction between the dhy¡ta and dhyeyavanishes and only the object shines in its full glory, then this is sam¡dhi, or, morespecifically, samprajñata, or sab•ja, sam¡dhi. The technical term used by yogis forantara©ga s¡dhana is saµyama. One more pertinent observation may be made. Theantara©ga s¡dhana produces its own changes in the citta: It is said that citta is butthe remainder of previous saµsk¡ras (saµsk¡ra ≈eßam hi cittam); the more power-ful saµsk¡ras replace the weaker saµsk¡ras (prabalena durbalasya b¡dha˙), anobservation that is common knowledge.

C 238 Antara©ga S¡dhana

Because of repeated sensory (and sensual) experiences, our citta has saµsk¡rasthat are of an outgoing nature (vikßipta). Because of their v¡san¡s (subtle residues),people repeatedly go for such experiences. In addition, a strengthening of suchsaµsk¡ras takes place by repeated indulgence. But it is possible to change this sit-uation through the type of practice that is detailed in the science of yoga. Theantara©ga s¡dhana produces mutations in the brain. The vyutthita citta, full of out-going saµsk¡ras, is replaced by nirodha saµsk¡ra, which refuses to respond toexternal stimuli. Then the saµyama produces a sam¡dhi pari∆¡ma, or a mentaltransformation, that allows one to remain in one object to the exclusion of all othercitta vƒttis, including the feeling of a separate individual identity. When this state iscontinued, the citta becomes completely transformed and can remain with one vƒttionly, which is called ek¡grata pari∆¡ma. Just as it is difficult to make the vyutthitaor wandering citta stop to even start the practice of yoga, when this final cittapari∆¡ma or sab•ja sam¡dhi is achieved, the citta transformation becomes so com-plete that it is equally difficult to disturb such a concentrated mind. The Upanißads,Pur¡∆as, and Smƒtis praise such states. It is the contention of yoga that such stagesof transformation are possible, and that they are mechanical processes attainable byright practice—and by practice alone.

Vy¡sa’s commentary on Patañjali refers to a number of places or objects for suchsaµyama, each one leading to its own siddhis, supernormal powers, and possessions.Every citta has the capacity for such transformation and such accomplishment.

It is said that by saµyama, or deep concentration, on the distinction betweenword (≈abda), the object referred to by the word (artha), and the formation of themind (pratyaya), one can understand the languages of all species. By saµyama onone’s basic tendencies (saµskara), one can understand one’s previous births; ifsaµyama is focused on moods (pratyaya), mind reading becomes possible.

By developing the tendencies—to the extent of saµyama—of friendship, com-passion, satisfaction, and indifference to those who are, respectively, contented,suffering, righteous, and unlawful, one acquires enormous mental strength. Bysaµyama on the principle of light, known as jyotißmat• vƒtti, one’s range of visionincreases to long distances and fine objects. Saµyama on the sun is said to bringknowledge of the universe. Saµyama on candra (moon), if one does yogic s¡dhana,leads to knowledge of the galaxies. Saµyama on the Pole Star provides the key tothe motion of the stars and the galaxies. Nearer home, within oneself, by saµyamaon the navel region (n¡bhi cakra) one comes to know one’s anatomy (k¡yavy¶ha).Concentration on the inside of the throat (near the glottis) leads to control of thephysiological functions of thirst and hunger. A n¡∂• called k¶rma is identified as thebronchial area; concentrating on that, steadiness of mind (breath) accrues. Bysaµyama on br¡hmarandhra (the top of the head), one communicates with siddha-purußas (yogis who have attained siddhis).


All people have intuitive knowledge, but in some it is more manifest and morefrequent. It is called pr¡tibh¡, or “superior clarity of mind,” which is indicative. Byconcentrating and developing this intuitive power, everything comes to be known.By concentrating on one’s own heart region, as described in such vidy¡s as daharavidy¡, one understands one’s own mind. The citta is of trigu∆as, but the purußa ispure consciousness. By concentrating on this distinction, one gets to know the realnature of one’s own self. The saµyamas referred to so far are concerned with spe-cific principles that lead to various kinds of knowledge (samprajñ¡ta). But saµyamacan also be used to realize the nature of purußa. There are other yogic feats possi-ble that involve channeling the active ˛akti (kriy¡ r¶pa ≈¡kti). The ˛r•madBh¡gavata catalogs siddhis in a different way, however, and always with bhakti onthe Lord.

Citta by nature has the capacity for subtlety, but owing to the particulardharm¡dharma of an individual, it remains confined to one’s body. The abovesaµyamas help to loosen the knots (granthi) that cause the bondage. Hence, theseyogic exercises literally remove all restrictions of the prakƒti, allowing the mind todiscover the means to transcend such physical restrictions and enter into anotherbody (para ≈ar•ra ¡ve≈a). This ability is still achieved by many practitioners, evenin the present day.

Just as the sense organs act on external matters, the five major v¡yus are thecauses of the abhyantara vƒtti, or physiological activities, such as respiration, circu-lation, and so on. Through mastery of a v¡yu called ud¡na one is able to fly like ahovercraft over water, brambles, and marshy land. One becomes lustrous like thedevas with the conquest and voluntary control of sam¡na. Through saµyama on theear, which is a sattvic evolution of the ahaµk¡ra principle and the tamasic evolu-tion of ahaµk¡ra, which is space (¡k¡≈a), and their relationship (which is sound),one can hear the subtlest of sounds. Such hearing is called divya ≈rotram. It may beextended to other indriyas by concentration on their corresponding kara∆a (instru-ment), bh¶ta (medium), and tanm¡tra (effect). Other siddhis include levitation andanim¡dhisiddhis (eight supernatural abilities), grouped as bh¶tasiddhis. It will suf-fice to say that practice with faith in the ≈¡stras and proper guidance from a guruwill lead to the development of these siddhis. The limit to such powers is Lordshipor °≈varatva. Having, by saµyama, suppressed the rajas and tamas aspects from thecitta, and if one repeatedly resorts to saµyama on the distinction between prakƒtiand purußa, then, as °≈vara, one receives the power to create worlds and gainknowledge of trik¡la (past, present, and future).

The one dhy¡na that is necessary and sufficient is bhagavad dhy¡na. When°≈vara is meditated upon, His form constantly kept in mind, all the siddhis are givenby Him. This contention obviates the need for different kinds of saµyama. The rep-etition of the ˛r•niv¡sa mantra to Viß∆u and Lakßm•, goddess of fortune, is said to

C 240 Antara©ga S¡dhana

give both iha ≈ukha and para ≈ukha (happinesshere and bliss beyond). According to ˛r•˛a©kar¡c¡rya, the repetition of the mantra brah-maiv¡ham nasams¡ri muktoham gives the eight-fold siddhis. Obviously this is only a sop forgaining ¡tmajñ¡na.

Whether one is a siddha, a bhakta, or a jñ¡ni,yoga is a necessary practice for success. The sid-dha has to resort to saµyama to attain the sid-dhis, and saµyama is a yogic process. A bhaktahas to do bhagavad dhy¡na to achieve par¡bhak-thi, which, as mentioned in various Pur¡∆as isfacilitated by yoga. A Vedantin, who seeks theidentity of the individual soul with param¡tman,or the merging of the two apparently differentphenomena, also has to meditate constantly onthe mah¡v¡kya (great formula), “Tat tvam asi” (“Thou are that”) throughnididhy¡sanam, or intense concentration, which again is a yogic discipline. Abhakta, a jñ¡ni, or a siddha is basically a yogi. “Tasm¡t yogi bhav¡rjuna,” LordKƒß∆a exhorts Arjuna—“become a yogi.” Yoga is a means for both iha and para≈ukham (happiness here and hereafter).


˛a∆mukh•mudr¡ for saµyama

17Freedom

SAÂYAMA, OR ANTARA˝GA S⁄DHANA, CAN LEAD TO various superioraccomplishments and in the third chapter of his treatise Patañjali indicates the para-meters and principles (tattvas) to be contemplated in order to achieve them. As inthe s¶tra on ¡sana practice, he does not detail the methods needed to achieve them,and one needs to refer to other texts or approach experienced siddha yogis for suchguidance. Achieving siddhis as they are popularly understood, however, is not thereal goal to a yogi. The ultimate siddhi, according to Patañjali, is the direct percep-tion of the Self and the final dissolution of the citta into its basic constituents,namely, the three gu∆as. So kaivalya is the mother of all siddhis (if one looks at itas a siddhi, or accomplishment), and the s¡dhana, or practice, directed at this siddhiis called ati-antara©ga s¡dhana (a practice beyond all internal practice, orantara©ga s¡dhana).

Not all siddhis arise by virtue of the yogi’s saµyama. For some people, siddhisare innate—present from birth—possibly owing to saµsk¡ras acquired in previousbirths that come to fruition in the present birth. This kind of siddhi is known as jan-maja, which means “arising from birth itself.” The japa of specific mantras can alsoproduce some siddhis, and there are sages who are adept at that practice, which isknown as mantr¡ja siddhi, or extraordinary accomplishment arising out of mantras.Some herbs are found to produce siddhis and several Pur¡∆ic stories tell of featsbrought about by the use of herbs, mostly by asuras, or demons. This kind of siddhiis known as oußadhija siddhi. Some tapasvins, or those who do penance, also areknown to achieve siddhis. One example we have already seen is in the story ofNandike≈vara, who by great tapas on Lord ˛iva attained sainthood in his presentbirth. These are known as tapoja siddhis, or extraordinary accomplishments arising

out of tapas. Finally are those siddhis that are the result of saµyama or sam¡dhi bya yogi, which are known as sam¡dhija siddhi. How do these siddhis happen, andwhy for some and not for ordinary folk? The answer given by Patañjali is very sim-ple, and may even appear simplistic. Since for both siddh¡s and ordinary mortalsprakƒti (nature) is the common cause, it follows that extraordinary transformationbecomes possible if one develops the power to understand prakƒti and change itscourse. The situation is like the farmer who allows the water to flow to differentfields by closing and opening different bunds. The strong karmas done by the yogihave the power to alter the prakƒti elements to produce results that appear out of theordinary. So a yogi is even able to create different cittas and exhaust past karmasby experiencing the results of residual karmas through them.

But none of this leads to kaivalya, the ultimate goal. Not even all the possiblesiddhis of prakƒti will deliver the yogi from the cycle of birth and death if he doesnot reach the state of kaivalya, according to the yogis of the Vedic order. For toachieve all the siddhis, even though he may understand prakƒti in all its ramifica-tions, he still has to have avidy¡, or a misconception, about the Self in the form ofthe I-exist feeling (asmit¡ m¡tr¡t). Thus the yogi with the locus of the pseudo-selfcan still control several minds and work out or exhaust his residual karmas. Now theimportant differences among the various kinds of siddh¡s, like the born siddha, themantra-proficient siddha, the herb- or drug-induced siddha, the penance-driven sid-dha, and the yogi siddha, come into view. Among all the siddh¡s, only those whoare proficient in saµyama, or yogic concentration, can progress to kaivalya, notonly by exhausting past karmas (karm¡≈ayas) but also by not producing fresh resid-ual karmas, which then leads to the cessation of future births. As a corollary it maybe said that the actions of the yogi who has attained kaivalya are neither good(dharma) nor bad (adharma), they are neither white nor black. But for other siddh¡sactions are of three kinds, purely dharmic, out-and-out adharmic, or despicable, andthose that are mixed, as we discussed in chapter 5. The four kinds of activities,according to Patañjali, are those that are good, those that are bad, those that aremixed, and those that are neither good nor bad. People who do purely good activi-ties—those who selflessly serve all beings—or who perform activities that areordained by the scriptures get to become angels. Those that are hell-bent on doingadharmic acts are hell-bound, and will suffer. But almost all human actions aremixed (mi≈ra), being thus partly dharmic and partly adharmic. Several examplescan be cited. Giving a large donation to a social cause is a p¶rta or a pu∆ya. It pro-duces good results for the donor in this or in a future birth. But if the wealth gottenand donated was obtained through ill means, then it is clear that the subject willexperience both good and bad effects. But if one studies the ≈¡stras, the sufferingfrom bad acts appears to be more severe than are the good effects of doing a pu∆ya.To trivialize it, any happiness that may accrue in donating a million rupees to a

Freedom 243 D

good cause may not even be comparable to one-sixteenth the part of the sufferingone will experience by, say, stealing goods worth a million rupees with a collar thatis white or blue. Hence all human activities are mixed. Robbing Peter to give char-ity to Paul has a mixed result, and on balance may possibly be a liability.

But the action of a yogi who has attained kaivalya, that is, an action performedwithout desire or malice (r¡ga and dveßa), which is possible only if the basic con-fusion about the Self has been cleared by yogic contemplation, does not produceany karm¡≈aya that in turn produces any future experience, either way. But all otherkarmas—including siddhis—that remain unproductive for the time being in a latentform (karm¡≈aya), invariably produce results in the future, whether here or here-after. So as long as there is the root cause of avidy¡, people act to satisfy thepseudo-self, which action produces results in the future, and all the unripe actionsare encased by avidy¡ in the repository of citta. Objects that can excite the egothrough the senses sustain the cycle of experiences. But once the karm¡≈aya aremade ineffective by removing the root cause, called avidy¡, or spiritual miscon-ception, then the yogi will not indulge in either dharmic or adharmic activities, andthe remaining karm¡≈ayas tend to lose their potency for future trouble in the formof experiences.

How does experience take place at all? According to yogis, when the cittarelates to an object, it undergoes changes in that it takes the form of the object itself.Whenever a change (pari∆¡ma) takes place, the citta is said to know, but if the cittadoes not undergo a change, then it has not known the object—even though the eyesmay have seen it. But as far as the purußa is concerned, the modifications in the cittaresulting from objects are constantly and invariably seen or experienced by it. If thepurußa, like the citta, also undergoes changes, then it itself may not know whenthere is a change. This is incongruous, and hence one can intuitively know or inferthat there has to be a nonchanging conscious principle that always (sada) knows(jñ¡ta) whatever picture is created in the citta. This understanding is central to bothS¡µkhya and Yoga, that there is a distinct purußa that is immutable, and only thatprinciple should be known as Self (pratyak ¡tma). Why? Because the Self is thatwhich is innermost, subtle, conscious, and without a second.

Having been convinced by several arguments (anum¡na), the citta realizes thatthe Self that should be called “I” is really the nonchanging experiencer and not theI-feeling or ego that is experienced. When this gets established in the citta, the yogitends to contemplate more and more the true nature of the real Self. Having real-ized that the Self, or purußa, does not require anything at all to be and remain sat-isfied, since it has no desire whatsoever, the citta slowly veers around to the viewthat it has really nothing to do, and its constant endeavors hitherto have no rele-vance. It slowly recognizes that the pressures to satisfy the pseudo-self are neverending. Having realized the nature of the Self and the pseudo-self, the citta slowly

C 244 Freedom

gravitates toward a state of equilibrium of the gu∆as in which state it savors the con-tinuous flow of peace that comes when the feverish activity arising out of the wrongimpressions (avidy¡) about the Self slows down. Then the saµsk¡ra (habits) of notengaging in frivolous and feverish ego-satisfying activities goes on increasing and,as if in a balance, the citta gravitates more and more toward the nirodha state. Inthe practice of nirodha, or nonengagement, in moment after moment the citta staysin a state of nirodha, and the three gu∆as reach a state of equilibrium. There are nosattvic, or pious, activities. There are no tamasic, or sinful, impulses and activities.Nor are there rajasic, or forceful and violent, outbursts. This state of citta continues,and then all that remains in the citta is nothing but nirodha saµsk¡ras. So nirodhadoes not force the citta, but shows the citta the way of nirodha, which is Patañjali’syoga system. The yogi in that state remains there until death takes over, when eventhe s¡m¡nya vƒttis of the citta cease. Since he has no residual karm¡≈ayas—because they have been either used up or made ineffective by the removal ofavidy¡—he is not born again, never born again. When the citta remains in the stateof nirodha continually, this is called kaivalya, or aloneness, or freedom. Freedomfrom what? Freedom from the self-imposed compulsions to satisfy the self-locus,the pseudo-self, the ahaµk¡ra. It can be viewed as freedom for the purußa as well,even though it is always free, only the disturbed mind does not think so. One is nolonger required to see the various activities of the citta, which has been resolvedinto its basic constituents. Yoga is therefore also the freedom of the mind, by themind, for the mind, and from the mind itself. The citta is no more a slave to anassumed master. The Self is free, as free as ever.

Patañjali wonders for whom is the freedom. It is for both the Self and especiallythe mind. Then there is no master, no servant. There is only freedom, absolute andpermanent.

Freedom 245 D

Glossary

abh¡va nonexistenceabhinive≈a fear, especially of death; an affliction (kle≈a) of the mind

abhy¡sa practiceabhy¡s• practitioner¡c¡rya teacher, who guides by example

adharma disorder, sin, nonpietyadhik¡ri fit person

adhomukha downward; facedown⁄di≈eßa the serpent king; acting as couch to the Lord, ⁄di≈eßa

incarnated as Patañjali⁄ditya lit., “son of Aditi”; sun

Advaita nondualism; a philosophy based on the theory that theindividual soul and the supreme being are one and thesame in their essential characteristic. The dualism is onlyapparent; being unreal.

agni one of five principal elements (bh¶tas), fire; energyAhaly¡ wife of the sage Gautama, revered as one of the seven

chaste women in mythologyaham I

ahaµk¡ra self, viewed as doer, agentahiµs¡ eschewing violence; highest yogic injunction (don’t)

air¡vata white elephant of Indra, the celestial kingai≈varya riches; supernatural powers, synonymous with vibh¶ti,

siddhi

¡k¡≈a one of five principal elements (bh¶tas); space; etherakliß†a favorable

¡nanda blissananta infinite; cap., a name of Viß∆u

a©ga part, limbannamayako≈a the physical body; lit., “the sheath made of food”

anta˙kara∆a the “internal organ” or brainanta˙-kumbhaka holding the breath in

antara©ga internal part or aspect; of the mind, cittaantar¡ya inpediments to spiritual progress. Patañjali lists nine of

them—one physical and eight mental.anya, anyata other, different

¡pa˙, ap one of the five principal elements (bh¶tas), water; liquid.ap¡na one of five pr¡∆as; physiological force operating in the

lower part of the bodyaparigraha nonaccumulation of wealth and possessions; eschewing

illegal gratification⁄pastambha a sage (ƒßi) who codified laws (dharma) in s¶tras (apho-

risms) and work on dharma; lit., “one who stops the flowof water”

apavarga renunciation; roll backapsar¡ celestial damsel, dancer

¡ra∆yaka lit., “of the forest”; portions of scriptures (Vedas) chantedin the forest

ardha half, partialartha meaning of word; wealth; goalaru∆a lit., “one without any debts”; one who gives, one who

releases one from debts; the sun, since it always giveswarmth and light

¡sana yogic postureasmit¡ I-exist feeling; a fundamental, cognizable kle≈a (mental

affliction)aspar≈a yoga lit., “untouched” or “untainted”; yoga of Advaitins to

achieve liberation (mokßa)aß†¡©gayoga eight-part or eight-step yoga

asteya nonstealing; another yogic injunction, one of the yamasasura nonangelic being; a demonic individual

a≈vamedha horse sacrifice performed by emperors; the mantras maybe merely chanted for benefits on specific days in themonth; the highest Vedic rite

Glossary 247 D

C 248 Glossary

¡tma self; lit., “that which (1) enjoys” or “experiences”; (2) “pervades”; (3) “acquires” (karmas)

avat¡ra incarnationavidy¡ misconception, mistaken impression, or misunderstand-

ing, especially about the true nature of Self. The mostfundamental mental affliction (kle≈a), according to yogis.

⁄yurveda lit., “science of life”; an ancient, established system oftherapy and a healthy way of life

baddha bound; restrainedbahira©ga s¡dhana practice of the first five aspects of eight-part yoga

b¡hya-kumbhaka holding the breath “out” after exhalation and beforeinhalation

bandha locking, or pulling up, a group of musclesBhagavad G•t¡ Song of Lord Kƒß∆a. A discourse on Yoga and Ved¡nta

to Arjuna in the battlefield. It is a part of the great epic(itih¡sa), the Mah¡bh¡rata, written by Vy¡sa.

bhakti devotion, sublime love toward the supreme beingBhaktis¶tra a classic work of N¡rada on bhakti methods.bhaktiyoga yoga of devotion. Integration of the individual soul with

the supreme through love, devotion. An important aspectof both the Bhagavat G•t¡ and the Yogas¶tras.

Bharadv¡ja a famous sagebhastrik¡ bellows, breathing; a breathing exercise resembling the

forced blowing of airbh¡ßya commentary; elucidation of a basic text

bh¶loka earth; worldbh¶ta (1) being; (2) one of the five principal elements—space,

air, fire, water, and earthBrahm¡ creator; one of the trinity

brahmacarya (1) the student stage of life; (2) a vow of celibacy; (3) ayogi’s vow not to transgress the institution of marriage

Brahman lit., “that which has (or appears to have) grown into theuniverse”; pure consciousness, the substratum of theentire universe

buddhi intellect; an aspect of the internal organ (anta˙karana),or brain

cakra active centers functioning along the spine

Glossary 249 D

Camakam a chapter in the Yajur Veda listing the boons sought fromRudra. Usually recited after chanting Rudram, perhapsthe most popular Vedic chant of ˛iva.

candra moon; the left nostrilCandra≈ekhara crescent crested; Lord ˛iva

Caraka author of a treatise (Caraka Saµhit¡) on ⁄yurveda, andbelieved to be Patañjali

carita; caritra story; history or life historyCidambaram lit., “space of consciousness”; a temple city in south India

where Lord ˛iva is believed to have performed the celes-tial dance

cikitsa medicinecit pure consciousness, the immutable individual Self in

yogacitta lit., “that which appears to have consciousness”; mind,

brain, the internal organcitta vƒtti fluctuation of the mind

dakßi∆a right side∂amaru hand-held drumdar≈ana exposition; there are six dar≈anas or schools of philoso-

phy: Vai≈esika, Ny¡ya, M•m¡µs¡, S¡µkhya, Yoga, andVed¡nta

de≈a place, position; a place in the body where breath is con-trolled in pr¡∆¡y¡ma

deva angel; a god usually associated with an aspect of natureDev• Mother goddess

Dev• M¡h¡tmya a revered Sanskrit work of 700 verses narrating theexploits of Dev• (goddess). It is also known as Candi andDurg¡-sapta-≈at•.

dh¡ra∆¡ lit., “to support”; an activity of the mind when an attemptis made to repeatedly hold a thought or object in mind,the first stage of meditation; retention, memory

dharma order; essential characteristic; law; a manifestation ofsattvic quality

Dh¡tup¡†ha a text giving the meaning (in Sanskrit) of Sanskrit rootsdhy¡na lit., “to think repeatedly,” especially of a higher principle;

meditation; bhagavad dhy¡na is “meditation on the Lord”dhy¡t¡ the yogi or devotee who does the meditationdhyeya the object of meditation

draß†ƒ the observer; another technical name for the Self in yoga

C 250 Glossary

dr.≈ya the observed, referring to the entire prakƒti in all its man-ifestations, including the ego

du˙kha lit., “vitiated” (du), “internal environment” (kham); men-tal pain; suffering

dveßa hatred, a kle≈a or mental afflictiondvip¡da two feet; two legs

eka oneEk¡gni K¡∆∂a chapter in the Vedas containing mantras of Vedic cere-

monies performed with one fire “location.” Contains thewhole mantras of Vedic initiation (upanayana) and wed-ding, including vows (viv¡ha).

ek¡gra one-pointedness; a state of mind achieved by repeatedsustained practice of appropriate yoga, transforming thecitta (pari∆¡ma)

ekap¡da one legekatatva one principle; the Lord

ga∆a servants of ˛iva, also known as sivaga∆ag¡∆apatya system of worship of Ga∆apati; one of the six orthodox

systems of worship (ßanmata)Ga∆e≈a also Ga∆apati; lit., “leader of ga∆as” (the elephant-

headed deity)garbha nirodha contraception

Garu∂a of the eagle family, vehicle of Lord Viß∆ughanap¡†ha an involved chanting method of Vedic mantras and

hymnsGo∆ik¡ mother of Patañjali

Govinda lit., “cowherd”; another name for Lord Kƒß∆aGovudap¡da an Advaitin, said to be an incarnation of Lord ˛iva;

author of a masterpiece, called M¡∆d¶kya-k¡rik¡, anindependent commentary to M¡∆d¶kya Upanißad, onAdvaitic lines

granthi knot; there are three knots in the spine blocking theupward movement of the esoteric ku∆∂alin•

gu∆a a constituent of prakƒti. The three gu∆as are sattva, rajas,and tamas.

guru teacher, “heavy” with knowledge; planet Jupiter; heavi-ness, a manifestation of tamas

Hariharaputra son of ˛iva and Viß∆u in his female form as theenchantress (Mohini)

hastaviny¡sa variations of hand positions in a yogic postureHa†hayogaprad•pik¡ classic yoga text by Sv¡tm¡ram¡

him¡laya lit., “the abode of ice” or “snow”; the great mountainHindu follower of ancient Indian religion, lit., “one who

eschews violence”homa minor fire sacrifice to propitiate Vedic gods

hƒdaya heart

Indra head of devas (angels)Indr¡∆• Indra’s consortindriya one of the five senses

iß†a devat¡ one’s chosen, favorite deity°≈vara Lord; one who is everywhere; in yoga, the prime, preem-

inent preceptor; pure, unfettered consciousness°≈varapra∆idh¡na surrender to the Lord; Yoga of devotion; a niyama of

aßt¡∆gayoga; an aspect of kriy¡yoga; a principal meansof freedom (kaivalya)

itih¡sa lit., “how it was,” history; an epic. The R¡m¡ya∆a andMah¡bh¡rata are itih¡sas.

j¡landhara bandha chin lock, useful in ujj¡y• pr¡∆¡y¡ma; said to preventnectar (amƒta) dripping from the head, which is subse-quently consumed by gastric fire

japa repetition of a mantrajapakrama, an elaborate method of doing japa

japavidh¡najñ¡na wisdom

jñ¡nayoga a yoga relying on sharp uncompromising intellect andyogic practice, to realize the unchanging, absolute,underlying principle of the universe (Brahman)

j•va lit., “the living principle”; individual soulj•vana living; life

j•vana prayatna effort of life; breathing

kal¡ art; there are sixty-four of them, including yogak¡la time

k¡ma pleasure, enjoyment

Glossary 251 D

C 252 Glossary

K¡m¡kßi lit., “one who confers boons to Her devotees with thegrace of Her glance”; the presiding deity in a famoustemple in K¡nci

k¡∆da a portion; a section of the Vedakaivalya lit., “aloneness”; the acme of yogic practice; freedom of

soul and mindK¡lid¡sa lit., “a servant or devotee of K¡li,” the energetic black

goddess, and an aspect of ˛akti. A great Sanskrit poet(mah¡kavi)

kap¡labh¡ti an active, repetitive upward movement exercise of thepelvic diaphragm, abdominal muscles, and thediaphragm for forcible exhalation; lit., “that which makesthe skull (face) shine”

k¡rik¡ a detailed commentarykarma action; the karma theory is a basic premise on which all

Vedic philosophies, including Yoga, restkarm¡≈aya action that is yet to fructifykarmayoga action without fear or desire for the results; doing pre-

scribed duties; one way of escaping from the cycle ofsaµs¡ra (transmigration)

k¡vya great literary workkle≈a afflictionkriy¡ activity

kriy¡yoga yoga practice mentioned by Patañjali for the purificationof mind, body, and senses

kumbhaka breath holding; in or outku∆∂alin• yoga yogic practice based on the arousal of the energy (˛akti)

in the form of a coiled serpent and subsequent mergerwith the ˛iva principle in the sahasr¡racakra

k¶rma tortoisek¶rma n¡∂• a pathway in the lower part of the neck

k¶ßm¡∆da homa a Vedic rite for purification from the effects of doing for-bidden acts

Lakßm• goddess of beauty and wealth, consort of Lord Viß∆uLalit¡ a form of ˛akti or mother

langhana to diminish; to reducelanghana kriy¡ moving while exhaling or holding the breath out

layayoga to merge with a superior principle

Mah¡bh¡rata an epic (itih¡sa) written by Vy¡sa, which contains the

Glossary 253 D

famous Bhagavad G•t¡ and Viß∆u Sahasr¡nama (1,000names or mantras of Viß∆u)

Mah¡bh¡ßya lit., “the great commentary”; a work of Patañjali (at thebidding of ˛iva) on Sanskrit grammar

mah¡k¡vya a great work of literaturemah¡mudr¡ lit., “the great seal,” a yogic energy-channeling exercise

Mah¡n¡r¡ya∆a the last chapter of the Yajur Veda (Kƒß∆a) containingUpanißad several oft-used Vedic mantras

mahat lit., “great principle”; the universal mind. The first mani-festation of prakƒti.

manas mindmano-v¡k-k¡ya the three principal instruments of human activity, the

mind, speech, and bodyMa∆d¶kya Upanißad Upanißad of the Atharva Veda giving an esoteric inter-

pretation of the sacred syllable OMmantra a syllable, a short passage, or hymn that is usually repeated

mentally. A mantra has a deity whose name or attribute themantra is and a sage or seer who discovered it. Sometimesa meter such as g¡yatr•, is also associated with it.

m¡rj¡la catM¡rka∆deya a great devotee of ˛iva; the P¶ra∆a (mythology) associ-

ated with him contains the famous Dev• M¡h¡tmyaM•m¡µs¡ lit., “discussion”; a philosophy vouching for the efficacy

of the Vedic ritesmit¡ sant¡na family planning

mokßa liberationmƒg•mudr¡ a hand gesture resembling a deer running; used to control

the nostrils while doing pr¡∆¡y¡m¡.m¶∂ha lit., “covered”; a mind that is dull or dark, the effect of a

predominance of tamasmudr¡ gesture of happiness; sealing or blocking some portion of

a passage to redirect energym¶la root; original

m¶la bandha rectal lockm¶lagrantha original religious and spiritual texts, namely, the Vedas

n¡da sound, usually pleasingn¡∂• a passage, usually of pra∆ic energy

n¡∂• ≈odhana a pr¡n¡y¡ma for cleaning the n¡∂•sN¡gar¡ja serpent king; another name for ⁄di≈eßa

C 254 Glossary

Nandike≈vara the bull vehicle of ˛iva; lit., “the blissful one”Narasiµha an incarnation of Lord Viß∆u, in the form of man-lion

n¡tya dancenidr¡ sleep

nirnidr¡ insomnianirodha total stoppage or cessation of mental activity or the

thought train in a yogi; the highest level (bh¶mi) of cittan•t• justice

nitya s¶ri eternally enlightened; the first beings of creation whoescaped the clutches of avidy¡

nivƒtti reactive effort to avoid or escape from what is consid-ered undesirable, namely, saµs¡ra

nivƒtti ≈¡stra a school of philosophy purporting to teach how to escapepermanently from pain, rebirth, for example, Yoga,Ved¡nta

niyama a prescribed dutyNy¡ya justice; law; logical thinking; one of the six orthodox

philosophies relying on one’s intellect Ny¡y¡c¡rya an expert logician of the Ny¡ya ˛¡stra

OM the first Vedic mantra; name of the Lord; according toVed¡nta, the syllable represents the creation, sustenance,and dissolution of the universe; it also represents thestages of waking, dreaming, and sleeping. The unmani-fest sound represents the transcendental stage of themind (tur•ya) or the period of quiet between creations(pralaya).

Omk¡ra the word OM

pada lit., “word”; Sanskrit grammarp¡da foot; quarter; a chapter in a book

p¡d¡©gus†˙a big toepaddhati system

pan÷c¡gni vidy¡ an Upanißadic dissertation about the transmigration ofthe soul from one birth to another through five transfor-mations (five fires)

P¡∆ini a grammarian who wrote the P¡∆ini s¶tras, based on theinspiration he had by watching the dance of ˛iva

par¡m¡tma supreme soulp¡r¡ya∆a recitation of religious texts

Glossary 255 D

pari∆¡ma transformation of mind (citta) due to yogic practiceparivƒtta turned around

p¡r≈va the sidepa≈cima back of the body

Patañjali incarnation of ⁄di≈eßa, author of Yogas¶tras and workson grammar and ⁄yurveda

paur¡∆ika an expert speaker on Pur¡∆as (mythology)pradh¡na primary, original; name for the state of total involution of

the universe or the complete state of equilibrium of thethree gu∆as

Prahl¡da lit., “the totally blissful one”; son of the demon kingHiranyaka≈ipu. Prahl¡da was a great devotee of LordN¡r¡ya∆a/Viß∆u.

prajñ¡ thorough and correct knowledge, arising out of yogicpractice

prakƒti matter; see pradh¡napram¡∆a means of attaining right knowledge

pr¡∆a life energy/forcepra∆ava lit., “greatest praise”; name of °≈vara; the OM syllable

pr¡∆amayako≈a lit., “the sheath made of pr¡∆a”pr¡∆¡y¡ma fourth step in aß†¡©gayoga; yogic breathing exercises;

control and regulation of breathpras¡rita stretched out

Pra≈na Upanißad one of the ten prominent Upanißads, written in the formof questions (pra≈na) and answers about the ultimatereality (Brahman)

pratikriy¡ counterposture; movement to an involved ¡sana orviny¡sa

praty¡h¡ra lit., “starving the senses,” that is, of their stimuli such assound and taste

pratyakßa direct perceptionpratyaya ideas, mental content; attitude

pravƒtti proactive effort to obtain or retain what one considersdesirable

pƒßt¡ñjali back salutep¶j¡ worship

pu∆ya good; virtuousPur¡∆as mythological works; eighteen Pur¡∆as are well known,

such as the Viß∆u Pur¡∆a, ˛iva Pur¡∆a, and the Bha-gavaa Pur¡∆a

purußa the indwelling principle, pure consciousness, the soulp¶rva front of the body

r¡ga lit., “attachment”; desire, an affliction (kle≈a); oppositeof dve≈a

rajas one of the three gu∆as; the active, or energy, constituentof nature

r¡jayoga yoga of enlightenmentR¡m¡ya∆a the story of R¡ma, an incarnation of Viß∆u, the most pop-

ular epic. Several versions are available in India andsouth Asia; V¡lm•ki’s version in 24,000 verses is themost authentic.

recaka controlled exhalation as practiced by yogiƒßi lit., “one who sticks to truth”; a seer of mantras

ƒ†am truth, straightnessr¶pa form

Sad¡≈iva lit., “ever peaceful”; Lord ˛iva, name of an Advaitinyogi from deep south India

s¡dhaka seeker; aspirant; yoga practitioners¡dhana correct sustained practice that leads to accomplishments¡dhya achievable; goal

sahasran¡ma a devotional work of 100 mantras praising the samedeity, usually found in the Pur¡∆as

sahasr¡ra thousand- (or countless-) petaled center; the abode of˛iva in the microcosm

˛¡kta system of worship of ˛akti; one of the six orthodox sys-tems of worship

˛akti goddess of powersam¡dh¡na constant focus of the mind

sam¡dhi union; completionsam¡hita citta mental balance and contentment

sam¡na the pr¡∆a that helps digestionsamantraka or pr¡∆¡y¡ma done with mantras or imaging the form of a

sagarbha pr¡∆¡y¡ma deitys¡m¡nya general activity (association) of the mind

sam¡patti focusing the mindsamasthiti balancing correctly on both feet—correct standing posi-

tion; also the starting position of doing ¡sanas as perviny¡sakrama

C 256 Glossary

sam¡vartana a ceremony performed by a student at the end of hisVedic studies and before taking to family life

S¡µkhya lit., “thoroughly researched exposition”; one of the sixorthodox systems of philosophy, subscribing fully to thetheory of karma but balking at the premise of acreator/god

samprad¡ya traditionsams¡ra phenomenal existence

saµsk¡ra residual or latent impression of past experiencesaµtoßa contentment; one of the niyamas

saµyama constraintsaµyoga correlation, integration

sandhy¡vandana prayers and oblations to Vedic gods according to the pre-scribed method, done at dawn, midday, and dusk every day

sanny¡sa renunciation; the fourth stage of lifesarva all

sarv¡©ga the whole body≈¡stra an orthodox subject; scriptures

≈¡str•yayoga traditional yogasattva one of the three gu∆as, the most beneficial to the

individual in spiritual pursuit. It manifests as order, rightconduct, piety, clarity of mind, lightness of body, andextraordinary achievements.

satya lit., “that which never changes”; truth, the essence≈auca cleanliness; one of the niyamas

S¡y¡∆a Vedic commentator on all four Vedass¡yujya integration of the individual soul into the supreme

siddhi accomplishment, supernatural powers; one of the resultsof yoga practice

sloka a verse of a textSmƒti lit., “what is remembered”; sanskrit texts containing

teachings of ancient sagessthiti stability; steadiness

Subrahma∆ya son of God (˛iva)sukha happiness, joy, comfort

sukhaprasava hassle-free childbirths¶kta hymns and short prayers to the Vedic gods

Sundara K¡∆da a section of the R¡m¡ya∆a of about 3,000 verses recitedover seven days for several benefits

Glossary 257 D

s¶ryanamask¡ra sun salutation; a sequence of twelve viny¡sas and ¡sanasthat can be done with appropriate mantras

s¶tra a succint way of writing and presenting a subject in acogent way, like a string of beads

sv¡dhy¡ya recitation and study of the scripturessvara note or pitch in chanting

tamas a gu∆a, associated with laziness, heaviness, bondage,darkness, disorder, inpurity, delusion, and chaos

t¡∆∂ava vigorous celestial dance, especially of Lord ˛ivatanm¡tra lit., “that alone”; pure aspect of sound, touch, form, taste,

and smelltapas lit., “to heat” and burn away dross; austerity; an aspect of

kriy¡yoga and a niyamata†¡kamudr¡ abdominal lock in a lying-down position; pond gesture

tattva principle or element

ud¡na lit., “moving up”; one of the five pr¡∆as associated withupward movement to organs of the head

udd•y¡na bandha abdominal lockujj¡y• yogic breathing method with a constriction in the throat,

making a hissing noise; lit., “uplifting”Um¡ the goddess ˛akti, consort of ˛iva

¶rdhvamukha facing upwardUpanißad Vedic texts specially giving the methods of realization of

the Selfup¡sana devotional practice; formal meditation. Upanißads give

several methods of up¡sana of Brahman, the ultimate reality.

upaviß†ha seatedutt¡na a stretch

uttaras¡nti peace invocation chanted at the end of lesson or functionutthita raised, extended

vair¡gya desirelessness; a state of mind of dispassionVai≈eßika an early orthodox philosophy, giving perhaps the first

atomic theory of the universeV¡ru∆a Vedic god of rainV¡suk• mythological serpent, used as rope to churn the milky

ocean

C 258 Glossary

Veda the basic Hindu scripture. The Vedas give the knowledgeof actions that bring what is favorable and remove whatis not.

Ved¡nta one of the six orthodox philosophies based on the Vedasvidy¡ specific body of spiritual knowledge or practice

vikalpa imagination; the third type of vƒttivikßepa distraction; an obstacle to attaining one-pointednessvikßipta distractedviny¡sa different positions, or variations, of classic yogic pos-

tures; artviny¡sakrama a logical and well-planned sequence of movements and

positions in one or more yogic postures or posturesequences; usually performed making use of appropriatebreathing sequence while doing the movements; yoga asan art form

vipar•ta kara∆i a term used for inverted yoga postures; especially a sim-ple version of the shoulder stand

viparyaya confusion; mistaken impression about an objectViß∆u lit., “all pervading”; sustainer of the universe; one of the

trinityvitarka (1) counterargument; (2) counter-thought; (3) objects

(gross) that are discernible to the sensesviveka discernmentviveki one capable of discernment

vƒtti activity, function of the citta; fluctuations of consciousnessvy¡y¡ma exercise

yajn÷a ritualyama (1) self-control, don’ts for a yogi; (2) cap., god of death

yamaniyamas yogic don’ts and dosyoga (1) union; (2) concentration; (3) cessation of endless train

of thoughts; cap., one of the six traditional philosophiesyog¡bhy¡sa practice of yoga

yoganidr¡ (1) a yogic posture resembling lying in a hammock (2) astate of nonactivity of the supreme before creation

Yoge≈vara Lord of Yoga; name attributed to Lord Kƒß∆a and some-times Lord ˛iva

yog• ≈vara foremost yogi

Glossary 259 D

austerity (tapas), 63–67, 87, 111, 127, 175, 199,205–6, 242–43

breath control (pr¡∆¡y¡ma), 2, 6, 8, 33–34, 142,194–95, 200–202, 207–8, 210–11, 236

for healing, 95kap¡labh¡ti, 189–94and lifespan, 141–42n¡∂• ≈odhana, 193, 199, 208, 209, 210, 221, 231,

232n¡∂•suddi, 217and pregnancy, 215, 217, 220–21purification practices for (sat-kriy¡s), 189–94sagarbha, 57, 199–200, 202–6≈ital•, 208, 209–10, 217, 221, 231s¶ryabheda, 209, 210, 231, 232ujj¡y•, 193, 195–99, 208, 209, 210, 220–21, 231,

232and yoga postures, 95–97, 100, 110, 126–28, 167,

173, 178–79, 200, 206

cakras, 12, 33, 71, 114, 224, 229. See also kundalinichanting

and breath control, 199–200, 202–6death mantras, 75–76for healing, 69, 71sounds (mantras), 2, 13, 34, 54, 57, 90, 124–25, 206Vedic (p¡r¡ya∆a), 2, 5, 8–12, 16–20, 67–76, 95

cleanliness (≈auca), 87, 89–90consciousness (purußa), 39–41, 42, 44, 61, 234, 240,

244. See also mind

death, mantras for, 75–76desirelessness (vair¡gya), 51–54, 59, 62diet, 63–65, 127, 208dreams, divine (divyam svapnam), 59

evolution (prakƒti), 42–43, 60

freedom (kaivalya), 53–54, 56, 59, 61, 62, 76, 77–78,85–86, 234, 237, 243–45

God (°≈vara), 43, 47, 54, 60devotion to (°≈varapra∆idh¡na), 54–55, 60, 63,

76–78, 87, 90, 203, 207, 240. See alsomeditation

Hindu forms of, 55–56, 59–60, 75, 77, 203, 208, 240

happiness, levels of, 37–38, 40–41, 83, 87, 90, 241.

See also freedom; mindhorse sacrifice (a≈vamedha), 71

intuition (pratibha), 240

karma, 37–41, 43, 45–46, 47, 79–84, 243–45knowledge, types of (samprajñata), 48–51, 60, 87,

240Kriß∆am¡c¡rya, Pa∆∂it T., 2, 4, 6–20, 65, 69ku∆∂alin•, 32–33, 114, 155, 156, 168, 171–74, 183,

193–94, 225, 233

life, stages of (¡ßrama), 62–63

mantras. See chantingmarriage, 12–13, 89medicine (⁄yurveda), 28, 41, 95meditation, 167. See also breath control; mind

on deities (dhy¡na), 173, 203, 229, 237–38,240–41

heart meditation (dahara vidy¡), 58–59, 73, 240on an object (dh¡ra∆¡), 237–38, 239on sound (n¡d¡nusandh¡nam), 229yoga postures (¡sanas) for, 171, 179

mind (citta), 21, 44–45. See also consciousnessattitudes, types of, 57levels of, 45–47, 85–86, 165, 229purification of (antara©ga s¡dhana), 56–61,

172–73, 236–42. See also breath controlsingle-mindedness (ek¡gra), 46, 47, 56–61, 77,

165, 200, 236, 239stillness of (nirodha), 44–47, 51, 52, 54, 61, 236,

239, 245transcendence (sam¡dhi), 46, 51, 53, 60, 62,

77–78, 200, 205, 229, 234, 236, 237–39, 243muscle-locks (mudras), 177–78, 229

a≈vin•mudr¡, 177–78bandhas, 98, 110, 126–30, 177, 178, 203, 226,

229j¡landhara bandha, 98, 100, 127, 128, 142–43,

145, 173, 174, 177, 178, 221, 222, 231mah¡mudr¡, 162, 178, 231mah¡ bandha, 178mrgi mudra, 199m¶la bandha, 98, 127, 129, 142–43, 145, 173,

177, 178, 192, 198, 222≈a∆mukh•mudr¡, 172, 182, 215, 218, 237, 241ta†¡kamudr¡, 128–29udd•y¡na bandha, 98, 127, 129, 142–43, 145,

Index

173, 177, 178, 198, 221, 222, 225, 226, 231yogamudr¡, 168, 170, 172, 177

nonviolence (ahiµs¡), 87, 88–89, 90–91

pain, causes of (kle≈as), 78–81, 84, 86Patañjali, 2, 12, 18, 21–29, 35, 36–37

Yogas¶tras, 21–22, 28, 35, 36–37, 227, 229, 234,237, 242

repentance of sins (pr¡yascitta), 70, 205. See alsoausterity

Sanskrit, 34–35scriptures, studying (sv¡dhy¡ya), 2, 4–6, 8–13,

16–21, 48, 63, 67–76, 87sleep (nidr¡), 50, 59, 78speech (v¡cika), 21, 28, 65sports, 117, 120

ten commandments (mah¡vratas), 87–91

vows (vratas), 52

yoga, 34–35as art, 1, 15, 234for children, 71, 98, 109, 110, 168, 184, 221dos and don’ts (yamaniyamas), 87–91, 110goal of, 2, 41–42, 45, 54, 78, 172, 242. See also

freedomin middle-age, 1, 87, 235in old age, 1–2, 87, 235as philosophy, 1, 37, 234tailoring, 2, 15texts, 202, 227–35. See also Patañjali; scripturesin youth, 1, 15, 114, 120, 168, 235

yoga, for healing, 1, 94–95, 99, 135, 137–38, 215,227–28, 230–34. See also breath control;chanting; yoga, for women

asthma, 14, 104–5, 138, 144, 183, 191–93,195–98, 201, 210, 228

constipation, 108, 117, 168, 178, 193depression, 41, 58–59, 77, 86diabetes, 129, 193emphysema, 191, 193, 196epilepsy, 201, 228fever, 228headache, 228heart, 144, 197–98, 201, 228, 231hemorrhoids, 129, 134, 144, 174, 228hypertension, 144, 198, 201indigestion, 129, 138, 171, 176, 178, 228insomnia, 138, 144, 220, 228leprosy, 178, 228memory, 144, 228, 231mental illness, 228obesity, 65, 115, 134, 174, 232prostatitis, 129, 142, 159respiratory ailments, 94, 138, 144, 168, 189, 196,

228

rheumatism, 115, 167, 183skin, 201testes, 138, 144, 159, 228thyroid, 137, 138, 142, 215tuberculosis, 134, 178, 224varicose veins, 134, 138

yoga postures (¡sanas), 94, 99, 174–75, 200, 208.See also muscle-locks (bandhas)

and breath control, 95–97, 100, 110, 126–28,167, 173, 178–79, 200, 206

counterpostures (pratikriy¡s), 97–98preparation for, 95

yoga postures, balancing, 108, 184–85ardhabaddhapadma-utt¡n¡sana, 186bhujap•∂¡sana, 188garu∂¡sana, 186kapiñjal¡sana, 187kapot¡sana, 183, 185ka≈yap¡sana, 187, 229na†ar¡j¡sana, 175, 186p¡r≈va-utt¡nakukkut¡sana, 188tol¡©gul¡sana, 187–88ußtr¡sana, 181, 184, 185utthitap¡d¡nguß†h¡sana, 185–86vasiß†h¡sana, 175, 186–87, 229, 231v¡t¡yan¡sana, 186vi≈v¡mitr¡sana, 175, 187vƒkß¡sana, 186

yoga postures, inverted, 133¡kuñcan¡sana, 137, 145, 146, 226¡kuncita-¶rdhvapadm¡sana, 147, 148ardhapadmahal¡sana, 139, 140ekap¡da hal¡sana, 139ekap¡da sarv¡©g¡sana, 137hal¡sana, 139–40, 141, 154kar∆ap•d¡sana, 140, 221, 223pincamay¶r¡sana, 147pi∆∂¡sana, 138, 139, 169, 170sarv¡©g¡sana, 97, 133, 135–41, 142, 149, 154,

169, 178, 193, 213–16, 220, 231≈•rß¡sana, 97, 135, 139, 141–48, 178, 188,

213–16, 220, 226, 231¶rdhvako∆¡sana, 137, 146, 147, 216, 218¶rdhvada∆∂¡sana, 146¶rdhvap¡dm¡sana, 144, 146–48, 169, 170, 188utt¡namay¶r¡sana, 140–41vipar•ta yogamudr¡, 147vƒ≈cik¡sana, 147

yoga postures, posterior-stretchingardhabaddhapadmapa≈cimat¡na, 162adhomukha≈v¡n¡sana, 122, 123–24, 125, 157,

159, 186baddhako∆¡sana, 121–23, 214, 216, 226catußp¡dap•†ham, 161, 174n¡v¡sana, 161, 162pa≈cimat¡nam, 156–60, 161, 175, 193, 232pa≈cimat¡n¡sana, 156–58, 161, 162, 188p¶rvat¡n¡sana, 212–13, 214, 217, 219p¶rva-utt¡n¡sana, 160–61

Index 261 D

suptako∆¡sana, 216triya©gmukha, 162, 163ugr¡sana, 160upaviß†hako∆¡sana, 163, 164, 188, 216–19, 223¶rdhvamukha≈v¡n¡sana, 122, 123, 125, 157, 159utt¡n¡sana, 121, 123–24, 125, 157–59

yoga postures, pronebhuja©g¡sana, 97, 140, 149–50dhanur¡sana, 149, 152–55, 226makar¡sana, 150, 151, 154r¡jakapot¡sana, 150≈alabh¡sana, 97, 140, 149, 150–54s¶ryanamask¡ra, 122, 124–25vim¡n¡sana, 152

yoga postures, sittingadhomukhapadm¡sana, 170, 171, 176ardhamatsyendr¡sana, 167, 223, 225, 226baddhapadm¡sana, 162, 166, 167, 171, 226, 232bhadr¡sana, 167, 222bharadv¡j¡sana, 175, 176–77, 181, 219, 220, 229da∆∂¡sana, 108, 157–58, 160, 163, 166, 173, 174,

213, 217, 218garbhapi∆∂¡sana, 222, 224gomukh¡sana, 166, 174gorakß¡sana, 170mar•cy¡sana, 223, 225, 226, 229, 232matsyendr¡sana, 222, 225–56narasiµh¡sana, 176padm¡sana, 97, 108, 141, 142, 159, 166–73, 174,

178, 187–88, 190, 199, 213, 214–15parvat¡sana, 167–68, 169, 170, 174, 176parya©k¡sana, 181, 183siddh¡sana, 173–74siµh¡sana, 159, 175–76, 177, 188suptapadm¡sana, 169, 170¶rdhvamukhapadm¡sana, 170vajr¡sana, 108, 141, 179–83, 188, 195, 199,

217–19v•r¡sana, 176, 181–83, 218–19

yoga postures, standingardha-utka†¡sana, 106, 127, 179ardha-utt¡n¡sana, 105, 108–9, 121k¡ñcy¡sana, 107khag¡sana, 109mal¡sana, 107pa∂¡sana, 179parivƒtta triko∆¡sana, 115–16p¡r≈va-bha©gi, 103–5, 223p¡r≈vako∆asana, 117p¡r≈va–utt¡n¡sana, 106, 109, 118–19, 223p¡≈¡sana, 107–8, 222–23, 225pras¡ritap¡d¡sana, 120p¶r∆a-utt¡n¡sana, 105–6samako∆¡sana, 120samasthiti. See tadasanat¡∂¡sana, 99–105, 115, 179triko∆¡sana, 114–15utka†¡sana, 106–7, 108–9, 110, 121, 123–24, 125,

127, 157, 186, 221, 223

utthitap¡r≈vako∆¡sana, 116–18utthitatriko∆¡sana, 115, 216, 217v•rabhadr¡sana, 118, 119–20

yoga postures, standing, on one leg, 110–11bhag•rat¡sana, 112, 113d¶rv¡s¡na, 114, 175ekap¡d¡©guß†¡sana, 111na†ar¡j¡sana, 114p¡rßva-ekap¡d¡©guß†¡sana, 111trivikram¡sana, 113–14utkata-ekap¡d¡©guß†¡sana, 111utka†avƒkß¡sana, 112–13utt¡navƒkß¡sana, 112vƒkß¡sana, 111–12

yoga postures, supineap¡n¡sana, 129dvip¡da p•†ham, 130–31, 133, 135, 141, 174,

212–13, 214, 217ja†haraparivƒitti, 129–30, 175, 216, 217, 232madhyasetu, 131≈av¡sana, 114, 128, 142suptap¡d¡∆guß†h¡sana, 133suptapar≈vap¡d¡©guß†h¡sana, 133¶bhayap¡d¡©guß†h¡sana, 132, 133¶rdhvapras¡ritap¡dahast¡sana, 132, 133¶rdhvapras¡ritap¡d¡sana, 132, 136¶rdhvapras¡sana, 131–33utt¡nak¶rm¡sana, 224yoganidr¡, 222, 223–24

yoga postures, transition, 120catur¡©gada∆∂¡sana, 121–22, 123, 124, 186s¶ryanamask¡ra, 121–25

yoga, types of, 53, 229. See also breath control;chanting; meditation; mind; muscle-locks

aß†¡©gayoga, 73, 76–77, 79, 86–91, 94, 229bhaktiyoga, 30–32, 54–55, 60, 61, 237–38, 240ha†hayoga, 33–34, 57, 59, 63, 165, 172, 189, 229jñ¡nayoga, 44, 45, 54–55kriy¡yoga, 2, 35, 56–87, 231ku∆∂alin• yoga, 32–33, 114, 155, 156, 168,

171–74, 183, 193–94, 225, 233layayoga, 53, 81mantrayoga, 2, 34, 67–76nirodhayoga, 61r¡jayoga, 229≈¡striyayoga, 15, 37

yoga, for women, 98–99, 134, 168, 212, 222conception, preventing (garbha nirodha), 18, 99,

212, 222–26for gynecological conditions, 99, 110, 117, 129,

138, 144, 178, 228for pregnancy, 110, 129, 131, 144, 183,

212–21yogi master (sam¡hita), 47–48

and autonomic body functions, 201–2levels of, 62–63supernatural powers of (siddhis), 240, 242–43

C 262 Index

YogaAre you ready to devote your life to yoga?

For thirty‑three years Śrīvatsa Rāmaswāmī studied with the legendary T. Kri .s .namācārya, the most influential figure in the field of yoga in the past hundred years and teacher of B. K. S. Iyengar, Pattabhi Jois, and T. K. V. Desikachar. Since that time he has developed Kri .s .namācārya’s teaching into what may be the most highly evolved program available for making yoga a way of life, rather than simply a routine. In thought‑provoking discussions and hundreds of photographs, Rāmaswāmī lays out a life’s worth of yoga teachings, including principles for right living, postures, breathing practices, meditation practices, and mental disciplines.

Key to Rāmaswāmī’s teaching is the focus on adapting yoga to individual needs and to different stages of life. During the early part of life, learning yoga as a physical art form is most beneficial for the self‑confidence and discipline it instills. In middle age, yoga should focus on physical therapy and maintaining optimum health as far into life as possible. In the last stages of life, the practitioner will be ready to focus on the ultimate goal—true understanding of the philosophy behind yoga and the realization of truth.

Śrīvatsa Rāmaswāmī has taught yoga in universities, hospitals, and schools in India for more than twenty years. A familiar figure on Indian radio and television, he now teaches workshops throughout the United States as well.

Developing

Your Practice

As an Art Form,

a Physical Therapy,

and a Guiding

Philosophy

Śrīvatsa Rāmaswāmī

for theThree Stages of Life

Yoga

Yoga for theThree Stages of Life

INNER TRADITIONSRochester, Vermont

Cover design by Marek AntoniakCover photographs courtesy of Isabelle Koch, Corbis, and FPG

RāM

ASw

āM

YOgA fOR ThE ThREE STAgES Of LI

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Documents

the-eye.eu · 1 Contents Acknowledgments viii Introduction 1 PART ONE: Yoga Siddha-nta, or Theory 1 My Studies with ˛r• T. Kriß∆am¡c¡rya and Others 4 2 The Story of Patañjali