Layayoga: The Definitive Guide to the Chakras and Kundalini (17 page)

The process of breath-control and its measures are explained thus: ‘Assuming the hero posture with the body erect, inspire the outer air through the left nostril for the measure of 16; then suspend the breath for the measure of 64, and thereafter exhale the air outside through the right nostril for the measure 32’ (—Gandharwatantra, ch. 5, p. 25). Here the general measures—16–64–32—have been discussed. It is further stated: ‘The measure for breath-suspension is four times the measure of inspiration, and the measure of expiration is half the measure of breath-suspension’ (—Gandharwatantra, ch. 10, p. 47). So, the general measures are: 1–4–2. For the control of the nostrils during breath-control, it has been said: ‘The thumb, ring, and little fingers should be used to control the nostrils, leaving the forefinger and the middle finger’ (—Koulawalitantra, ch. 2, p. 6). About the forms of breath-control it is said: ‘There are two forms of breath-control: one is with the mantra and concentration, which is called sagarbha, the other is without them and is called agarbha or wigarbha’ (—Sharadatilaka, 25. 20–21). About the stages of breath-control, it is said: ‘The early or first stage is that in which perspiration occurs due to the practice of breath-control. In the middle or second stage the body shakes (due to the arousing of inner power). In the highest or third stage the body levitates. The breath-control should be regularly practised until the third stage is reached’ (—Sharadatilaka, 25.21–22). It has been further stated: ‘Breath-control consists of three stages: the highest, the middle and the first. At the highest stage, the body becomes light and levitates and the mind becomes calm. At the first stage perspiration is produced in the whole body, and at the second stage the body shakes. These signs appear after long practice. By regular practice the third stage is reached from the first and through the second stage. The breath-control should be regularly practised in the morning and evening’ (—Tantrarajatantra, 27. 64–66).

The usual Tantrika terms for inspiration, suspension and expiration are puraka, kumbhaka and rechaka respectively. The terms ahara, dharana and apasara for inspiration, suspension and expiration respectively have also been used (—Tantrarajatantra, 27. 67–68).

The usual measures in breath-control are 16–64–32, on the basis of 1–4–2. But the relative measures of 1–4–2 change according to the different forms and the nature of the mantras used. In one of the forms of breath-control, inspiration is done through the left nostril for the measure of 16 with the first 16 matrika-letters; then breath-suspension for the measure of 32 with the matrika-letters 32 from ‘Ka’ to ‘Sa’; thereafter expiration through the right nostril for the measure of 16 using the letters from ‘Ka’ to ‘Ta’ (—Gayatritantra, 1. 203–204). Here the relative measures are 16–32–16 at the ratio of 1–2–1, and the matrika-letters (sound-units) are used as mantra.

In another form, the 50 matrika-letters as mantra, said in regular order, with concentration together with initiation-mantra are used for inspiration; the 50 matrika-letters, first in the reverse order and then in the regular order with concentration and the initiation-mantra are used for breath-suspension; finally, the 50 matrika-letters in the reverse order with concentration and the initiation-mantra for expiration (—Kamadhenutantra, ch. 9, p. 10). The relative measures of inspiration-suspension-expiration are 50 + initiation mantra—10 + initiation mantra—50 + initiation mantra. This form of breath-control is for advanced pupils.

There is another Tantrika breath-control in which ‘
A
’ to ‘Ksha’—the 50 matrika-letters—are used in inspiration, ‘Ka’ to ‘Ma’—the 25 matrika-letters—are used in breath-suspension, and ‘Ya’ to ‘Ksha’—the 9 matrika-letters—are used in expiration (—Wishwasaratantra, ch. 1, p. 10). It is a special breath-control in which the relative measures of inspiration, suspension and expiration are 50–25–9.

There is also a special breath-control process, called brahmamantra pranayama, in which a different technique has been used. Sadashiwa says: ‘In this breath-control the brahmamantra (consisting of 7 matrika-letters) or only pranawa (Ong) should be used. Closing the left nostril with the middle and ring fingers of the right hand, inspire through the right nostril and at the same time do sound-process (japa) with brahmamantra or pranawa for 8 times; then closing the right nostril (the left nostril is already closed) with the thumb, suspend the breath for 32 measures with the mantra or pranawa; and finally, open the right nostril and expire through it slowly by counting the mantra or pranawa 16 times; in this manner inhale through the left nostril counting 8, suspend counting 32, and exhale through the left nostril counting 16; and again, inhale through the right nostril counting 8, suspend counting 32, and exhale through the right nostril counting 16. This is the brahmamantra pranayama’ (—Mahanirwanatantra, 3. 44–48). The measures of this breath-control are 8–32–16, the same ratio as 1–4–2. The characteristic feature of this breath-control is that the inspiration and expiration are done through the same nostril. In this respect it differs from both surya pranayama (right-nostril inspiratory breath-control) and chandra pranayama (left-nostril inspiratory breath-control) .

The regular measures for inspiration, breath-suspension and expiration are 16–64–32. But one who is not able to use these measures should adopt lower measures. It is stated: ‘He who is unable to use the measures of 16—64—32, should reduce them to 4–16–8; even one who is unable to use these reduced measures should use the measures of 1–4–2’ (—Shaktanandataraṅgini, ch. 7, p. 16).

In the Tantrika form of breath-control, the three forms of special muscular control—chin-lock, abdomino-retraction and anal-lock, have also been introduced. It is stated: ‘At the end of inspiration, chin-lock should be done. At the end of expiration, abdomino-retraction should be done, and during breath-suspension anal-lock, chin-lock and abdomino-retraction should be executed’ (—Grahayamala, ch. 13, p. 102).

As in Waidika breath-control, Tantrika breath-control also has two fundamental forms: sahita and kewala. It is said: ‘Breath-suspension is of two kinds: sahita and kewala. The sahita-suspension is that in which suspension is done with inspiration and expiration. The kewala-suspension is that in which suspension is automatic and effortless and where inspiration and expiration are completely absent’ (—Grahayamala, ch. 13, p. 101).

It has been said: ‘The body of a resolute yogi, who has mastered kewala-suspension, is as swift as the mind, and is diseaseless and without senility’ (—Tripurasarasamuchchaya, ch. 3, p. 10).

About the signs which appear when the breath-control is accomplished, it is stated: ‘The signs which appear after the perfection of breath-control are aroused internal powers, joy and satisfaction, purity of mind, calmness, bodily lightness, gracefulness and brightness’ (—Tantrarajatantra, 27. 69). Further, ‘When the breath-control is perfected, these signs appear: lightness of the body, cheerful countenance, brightness of the eyes, good digestion, internal purification and control, and joy’ (—Grahayamala), ch. 13, p. 102).

Fifth Stage of Yama (Control): Pratyahara

Now we come to the fifth stage of control which is the control of the senses. The terms ayama, nigraha, rodha and nirodha are used for control. But in yoga, a special term ‘Pratyahara’ has been introduced for the control of the senses. This new term explains the nature of yama (control) involved in the control of the senses. The word pratyahara is derived from ‘hri’: to take away, to remove, to prevent, to disjoin, to withdraw, and to which ‘prati’ ( = against) and ‘a’ are prefixed. So, the meaning of the term is to take away, remove or withdraw the senses from the objects, to prevent the senses from being in contact with the objects. The main point is that the nature of the control, in relation to the senses, is that which keeps the senses from being in contact with the objects, that is, a process of abstraction or withdrawal. Therefore, the technical meaning of the word pratyahara is the sensory withdrawal, which can simply be termed sensory control.

It is said: ‘The senses and the organs of action should be controlled in the manas (the sense-mind or the sixth sense), and the manas in the jñanatman (perceptive consciousness or mind)’ (—Kathopanishad, 1. 3.13). Here the process of the actions of the senses and its control have been technically explained. The sensory impulse at the cerebral point is transformed into the udanic (pertaining to the udana—a form of bio-energy exhibiting upward radiation) radiation and is conducted to the sense-mind. The sense-mind is stimulated by the radiated udanic energy and creates and conducts manasa-radiation (highly rarefied subconscious radiation) to the perceptive consciousness where objective knowledge is formed. In the text two phases of control have been pointed out. During the first phase, the rousing of the sense-mind in response to the udanic radiation is controlled, and, as a result the sense-mind is neutralized. During the second phase, this neutralized sense-mind is withdrawn into the perceptive mind. This two-phased control process is technically termed pratyahara—sensory control. In the above text the word ‘yama’ has been used as a verb, meaning to control the senses. So, the term is ‘indriya-yama’ which stands for pratyahara.

A different technique of sensory control has also been expounded. It is stated: ‘The senses should be controlled by the manas (will-mind) in the hrit (here, sense-mind)’ (—Shwetashwataropanishad, 2.8). This means that the transformed sensory impulse into udanic radiation should be neutralized in the sense-mind by will-mind, that is, before the creation of the sensory image in the perceptive consciousness. It can also be explained differently: ‘By the concentrated mind the senses should be controlled in their particular seats in the chakras (subtle centres).’ This process of sensory control has been specially adopted in layayoga. Here the term ‘indriya sanniwesha’ (sense control) has been used for sensory control in place of pratyahara. This form of sensory control has been more clearly expounded by the great yogi Mandawya in his own practice. It is stated: ‘Once upon a time Muni Mandawya desired to withdraw his senses to the manas-chakra (a subtle centre which is the seat of sense-consciousness), and for that purpose he assumed the lotus posture with his eyes half-open and, stage by stage, disjoined his senses from the internal and external objects’ (—Annapurnopanishad, 3. 3–4). The process described here consists of the withdrawal of the senses, from all objects, into the manas-chakra. It is a layayoga process. Here, a more direct term ‘indriya sangharana’, that is, sense-withdrawal, has been used for pratyahara.

There was an ancient form of yoga practice consisting of prana-apana sangyama, that is, breath-control, and the disjoining of the senses from their objects and other processes (—Kundikopanishad, 24–25). Here, the word ‘sangshraya’ in the verbal form and in the negative sense has been used. To denote negation it can be constructed as ‘asangshraya’ to mean disjoining.

About a special process of sensory control it has been stated: ‘By the concentrated mind the senses should be withdrawn from their objects and the apana-energy should be drawn upwards into the abdominal region and held there’ (—Trishikhibrahmanopanishad, Mantra Section, 115). It appears that the reverse apana-action is associated with the process of sense-withdrawal. Here, the term ‘karana-samaharana’ has been used to mean sense-withdrawal. However, the process of sensory control has been elaborated in this manner: ‘On the eighteen vital points of the body, the mind should be concentrated, from one point to the other, with breath-suspension. This is sensory control. The eighteen points are: (1) big toe, (2) ankle, (3) calf, (4) thigh, (5) anus, (6) genitals, (7) heart, (8) abdominal region, (9) navel, (10) neck, (11) elbow, (12) root of the palate, (13) nose, (14) eye, (15) space between the eyebrows, (16) forehead, (17) knee, and (18) wrist’ (—Trishikhibrahmanopanishad, Mantra Section, 129–133).

Dattatreya defined sensory control as: ‘The senses naturally are in contact with the objects; the withdrawal of the senses from the objects by the application of the power of control is termed sensory control’ (Darshanopanishad, 7. 1–2). Here, the process involved in sensory control has been termed ‘indriya aharana’, that is sense-withdrawal, and this is to be effected by the well-developed power of control. The control process has been more fully described by Dattatreya. He says: ‘According to the process of breath-control, breath should be suspended with concentration applied to the following points in succession: (1) root of the teeth, (2) neck, (3) chest, (4) navel region, (5) region of Kundali (coiled power), (6) muladhara (intra-coccygeal subtle centre), (7) hip, (8) thigh, (9) knee, (10) leg, and (11) big toe. This is called pratyahara by the ancient yogis who were masters of sensory control’ (—Darshanopanishad, 7. 5–9). The processes involved in sensory control are two-fold: breath-suspension and holding the mind, that is, mental concentration, on certain vital points in the body in a particular manner and order. The concentration should be done along with breath-suspension. This is a very ancient method of sensory control.

Dattatreya expounded a higher process of sensory control in which mind is concentrated on the different subtle centres of the body. This is the layayoga method. He says: ‘The yogi should assume the swastikasana (auspicious posture) and should be completely motionless; then he should inhale the atmospheric air and suspend the breath. During breath-suspension, the following points should be held in consciousness in succession: (1) feet, (2) muladhara (the intra-coccygeal subtle centre), (3) navel point (manipura—the intra-lumbar subtle centre), (4) heart point (anahata—the intra-thoracic subtle centre), (5) neck point (wishuddha—the intra-cervical subtle centre), (6) palatine point (talu—the intra-medullary subtle centre), (7) eyebrow point (ajña—the intracerebral subtle centre), (8) forehead point (manas and indu, which belong to the ajña system), and (9) head point (sahasrara—void centre)’ (—Darshanopanishad, 7. 10 12).

In explaining sensory control, Narayana said: ‘The control of the mind in respect of sensory objects is pratyahara’ (—Mandalabrahmanopanishad, 1.7). That is, the sense-mind should be so controlled as to cease all conduction to the perceptive consciousness. Here the term ‘manas-nirodhana’ (sense-mind control) has been used to explain the nature of the control.