Layayoga: The Definitive Guide to the Chakras and Kundalini (18 page)

It is said: ‘The withdrawal of the senses from their objects, towards which they are naturally flowing, is called pratyahara’ (—Yogachudamanyupanishad, 120). Here the word ‘pratyaharana’ (withdrawal) has been used to indicate the nature of the control, and from which the term ‘pratyahara’ originated. The great yogi Wishnu also said: ‘It is evident that pratyahara is the process in which the yogi, being in kumbhaka, (breath-suspension) withdraws his senses from their objects’ (Yogatattwopanishad, 68–69). Here also, the word ‘pratyaharana’ (withdrawal) has been used to explain the nature of the control. It is also stated that the control process is conjoined with breath-suspension.

Atharwana expounded five forms of sensory control to Shandilya. He said: ‘The withdrawal of the senses from their objects by well-developed control-power is pratyahara; (the second form is) whatever sensory image shines forth in consciousness should be thought of as God, this is sensory control; (the third is) the abandonment of the fruits of all actions which are to be done everyday, this is sensory control; (the fourth is) the turning away from all objects, this is sensory control; (the fifth is) the holding (in consciousness) the eighteen vital points (of the body) in succession, this is sensory control. The vital points are: (1) foot, (2) big toe, (3) ankle, (4) leg, (5) knee, (6) thigh, (7) anus, (8) genitals, (9) navel, (10) heart, (11) neck, (12) larynx, (13) palate, (14) nostrils, (15) eyes, (16) the space between the eyebrows, (17) forehead, and (18) head. On these points the process of holding should be done on the ascending as well as on the descending scales’ (—Shandilyopanishad, 8. 1–2).

All these are the Waidika sensory control. Now we come to the Tantrika sensory control. Shiwa said: ‘The senses are constantly in contact with the objects; they should be withdrawn from their objects in a graduated manner’ (—Niruttaratantra, ch. 4, p. 8). Ishwara defined pratyahara as: ‘The withdrawal of the senses from their respective objects, with which they are normally in contact, by well-developed control power is called pratyahara’ (—Gandharwatantra, ch. 5, p. 25). It is said: ‘The perceptive mind, because of the influence of desires, is in an oscillatory state; when the desires are controlled by pratyahara, it becomes concentrated on God’ (—Rudrayamala, Part 2, 24. 137). Further, ‘The perceptive mind is irresistible, firm, difficult to control and unwilling to obey; the withdrawal of it by the strength of control is called pratyahara. By pratyahara, the yogi becomes calm and is able to concentrate deeply and that leads to yoga’ (Rudrayamala, Part 2, 27. 28–30).

A new and highly technical definition of sensory control is as follows: ‘With the suspension of breath the mind should be concentrated on the muladhara centre and from there on all other subtle centres, step by step; this is pratyahara’ (—Tantrarajatantra, 27.70). This is the form of sensory control which is specially adopted in layayoga.

The word ‘yama’ in the form of ‘sangyama’ has been used for the control of the senses. It is said: ‘The sangyama (control) of the senses from their objects into the hrit centre by the will-mind is called pratyahara; this fifth process of control should be regularly practised by the yogi’ (—Satwatatantra, 5.14). Sensory control has also been defined as: ‘Even when the senses are in contact with the objects, the non-reception (in the sense-consciousness) of those (objects) is pratyahara’ (—Paranandasutra, final section, 1. 42). Here, it is indicated that the sense-mind should be so controlled that it does not receive the dematerialized sensory impulses and, consequently, will not conduct sensomental impulses to consciousness.

Sixth, Seventh and Eighth Stages of Yama (Control): Dharana, Dhyana and Samadhi

The sixth, seventh and eighth stages of control are exercised in relation to the mind. In other words, the control of the mind is practised in three main steps, and each one has a technical name denoting the nature of the control. These names are Dharana, Dhyana and Samadhi, which will be explained.

1 Dharana (Holding-Concentration)

Dharana is the sixth stage of yama (control) and the first phase of mental control or concentration. Dharana is derived from ‘dhri’ meaning holding. Holding is a process of maintaining a particular form of consciousness without its transformation into another form. Therefore, holding is the process of concentration in which only one form of consciousness is maintained. This monoform consciousness is beyond perceptivity, intellectuality, affectivity, and volitionality.

Perception effects the oscillatory state of consciousness because of the constant sensomental radiations into it. The radiated energy in the conscious field is transformed into conscious forms or images which, in relation to the I-consciousness, are apprehended as what we call the external objects. According to the experiences in relation to the objects a conscious feeling of passion or aversion may be aroused. This is determined to a great extent by the desire-pattern which is based on pleasure-pain impressions, acquired before. The desire (kama) itself which is born of preformed impressions, when combined with the will-principle (manasyana) develops finally into conation (kriti). Conation may, or may not, be associated with affectivity.

On the other hand, intelligence plays an important role in perception. In a general way, it is a component part of apprehension. However, intellectuality becomes a predominant factor in certain types of apprehension. An apprehension can be so refined that higher and deep thinking and deliberation form its major part. Thinking and reasoning are the main functions of the intellective mind (buddhi).

Perception is the basis of consciousness at the sensory level. In this consciousness, not only perception, but also affection and volition and, to a certain extent, intellection are components. It is called the perceptive (sangjñana) field. When the intellective mind predominates in the perceptive field, clear thinking and sound reasoning become elements of consciousness. These are the functions of the intellective mind as mati (thought) and manana (reasoning). The intellective mind at a higher level, such as manisha (superintellect), exhibits a higher form of intelligence as deep thinking and deliberation. The intellect and superintellect modify the perceptive consciousness to a specific form called intellective consciousness (wijñana).

Both the perceptive and intellective forms of consciousness are multiform in character, though the latter is much more refined. The constituent elements of the perceptive consciousness are the knowledge-forms, principally of five varieties created by the five kinds of sensomental radiations in the conscious field. Each knowledge-form is a knowledge-unit which is termed writti (an imaged consciousness). By the appropriate combination of different knowledge-units a conscious pattern is formed which is associated with the phenomenon of the awareness of the objects. It is manifold in character and is constantly changing. Intelligence also radiates from the intellective aspect of the mind into the conscious field, and is manifested as conscious thoughts and intellectual creativity. When conscious thoughts are of a high order and intensive in character, consciousness assumes a new pattern called intellective consciousness, which is composed of thought-intelligence-units, also termed writtis.

At the sensory level the knowledge pattern is the awareness of sensory objects. Either the awareness, or the thought associated with it, is composed of knowledge and intelligence units so coalesced as to give a complete meaning. Each unit is a writti which is the knowledge minimum. Consciousness in the sensory or intellective field is maintained by the continuous arising of the writtis, one after another. It is like this, writti 1—pause—writti 2—pause—writti 3 and so on. The pause is so brief that it cannot be apprehended, and so there is an apparent continuity. A writti-chain creates a knowledge pattern of which a single writti may manifest a knowledge of an object or the part of the knowledge of an object or objects. Therefore, our knowledge is a compound of writtis.

The writti-form of consciousness, the seat of which is either the perceptive or intellective field, has been termed ‘sarwabhawatmabhawana’ (—Annapurnopanishad, 1. 32)—the multifarious consciousness—manifesting manifold perception-thought phenomena. Unless the writtis are controlled, it is not possible to attain uniformity (samata) of consciousness. It is the background, or the actual state, of the concentratedness (ekagrata) of consciousness. This state should be developed from the state of deconcentration by the application of control.

The uniformity of consciousness is not an abnormal, unintelligent, unaffectionate and unillumined state. On the other hand, it is a supernormal, superintellective, superaffectionate and superillumined state. So it has been called prajñana—superconsciousness. It is not based on perceptive-intellective knowledge phenomena, but on the dhi—concentrative mind which causes consciousness to assume the concentrative form. Superknowledge arises from concentration—not from perception and intellection. Superknowledge has two levels—inward and outward. At the outward level, superknowledge reveals the supermatter field, and thus the range of knowledge is increased to a very high degree. At the inward level, superknowledge manifests as spiritual light or divine knowledge.

In the intellective field, the concentrative mind manifests as attention (awadhana) and genius (pratibha). When the writtis flow in the conscious field, the specific function of the concentrative mind is almost hidden. Unless an appropriate condition in consciousness is created, concentration will not be possible. Concentration is essentially the development of that form of consciousness in which writtis cannot arise, and intellective, affective and volitive phenomena are not recorded, and the form itself does not change. A writti indicates a knowledge of an object or a part of the knowledge of an object. This is why writti 1 is not the same as writti 2, or writti 3. This shows the oscillatory character of the consciousness undergoing writtis. On the other hand, the consciousness in concentration shows that any point, measured by time, is that conscious form which is without manyness in character, but uniform. This is due to the influence of the concentrative mind.

In yoga, a unique method is introduced to raise our consciousness from the perceptive-intellective levels to the concentration level. The multifarious consciousness is intimately related to the body. The summation of all the activities of the body, which is indicated by the respiratory frequency and depth, may be regarded as an approximate index.

In normal, quiet breathing, the number of breaths is from 12–16 per minute. Let us take 16 respirations per minute in a resting state. Assume a cross-leg concentration posture as advocated in yoga. Then make your body completely motionless by passive conscious effort. When you have mastered the physical stillness, link your consciousness to the physical motionlessness. When this is controlled, any slight motion of the body, or even a tendency to movement will be recorded in your consciousness. However, by prolonged practice, a state of undisturbed consciousness, in conjunction with the motionlessness of the body, can be maintained for a desired period. This is posture control.

When the concentration posture is controlled in this manner and the mind made calm at the same time, the respiration rate of 16 per minute may decrease to 10, 8, or even less. This is due to the stillness of the body and calmness of the mind in which the suspension factor has been brought into play, which influences the respiratory rate. The respiratory rate of 16 per minute means that there are 16 inspirations and 16 expirations and a pause between them which is equal to zero. In other words—inspiration 16, expiration 16, and a pause between them; the pause = 0. If the pause 0 is raised to the inspiratory or expiratory value 16 and the inspiratory and expiratory values are reduced, then suspension will be a predominant factor in respiration. In yoga, the usual proportion has been fixed at the ratio of 1–4–2. If inspiration is 4, suspension will be 16, and expiration 8. If we make suspension equal to 64 seconds, then inspiration is 16 seconds, and expiration 32 seconds, that is, 4 counts inspiration in 16 seconds, suspension for 64 seconds, and 8 counts expiration in 32 seconds. Here, the value of 1 respiratory unit is 4 seconds. This is high R. unit. When a R. unit is reduced to 2 seconds, it is medium, a R. unit of 1 second is a low unit. In a grade using a low unit, the suspension is 16 seconds. In the medium grade, it is 32 seconds, and in the high grade 64 seconds. A student should start at the low grade and gradually proceed to the high grade.

The student should sit in a concentration posture and remain motionless and calm. Then he should practise breath-control in the following manner: inspire and concentrate on this in a passive way; then suspend and link the consciousness to the suspension and be conscious of that; and finally, expire with passive concentration. The counting of the number of units and the measure of each unit should be done consciously along with passive concentration. When the suspension is well-controlled, it will be easy and cause no disturbance.

After the suspension has been made easy by practice, matrika (supersound) units should be introduced in suspension. The 16 matrika-letters from ‘
Ang
’ to ‘
Ah
’ should be used in suspension. If the suspension is for 64 seconds, then each letter has the value of 4 seconds. This value is reduced to 2 seconds in suspension 32, and to 1 second in suspension 16. The increased or decreased time value is obtained by a slow or less slow mental sound-process essentially obtained by increasing or decreasing the nasal factor connected with each matrika-letter. During suspension, concentration should be made on the sound-process. The inspiration and expiration should be done with passive concentration and should be regulated by the respiratory units.

When the mental sound-process is fully established in suspension, the next step in practice is as follows: concentration should be done so deeply on the mental sound-process that the suspension time limit is totally forgotten. In this case, the suspension may be unconsciously prolonged or the expiration-inspiration is carried out unconsciously. Now, the 16 matrika-letters should be used in inspiration, suspension and expiration, thus making the ratio 1–1–1. When this is mastered, the 50 matrika-letters from ‘
Ang
’ to ‘Kshang’ should be used in inspiration-suspension-expiration as if one continuous act without any interruption in the mental sound-process at the junction between inspiration and suspension, suspension and expiration, and expiration and inspiration, and so on. In this manner, a monoform consciousness is created in which are held only the matrika-letters, flowing one after another but linked with one another by the nasal factor in mental sound-process, and the concentration is so deep that the respiratory phases do not break the concentration but remain in the background.