Layayoga: The Definitive Guide to the Chakras and Kundalini (30 page)

Metamatter forces in combination with pranic forces constitute a subtle energy organization, arranged in five levels. They are:

1  Smell-energy organization, in which the fundamental aspect is the ‘earth’ metamatter which assumes a particular form and around which is a circular wave-motion. When the earth metamatter is reduced to its smell tanon, it emits a specific swanon.

2  Taste-energy organization, containing ‘water’ metamatter, a circular wave-motion and the taste tanon, emitting a specific swanon.

3  Sight-energy organization, containing ‘fire’ metamatter, a circular wave-motion and the sight tanon, emitting a specific swanon.

4  Touch-energy organization, containing ‘air’ metamatter, a circular wave-motion around it, and the touch tanon, emitting a specific swanon.

5  Sound-energy organization, containing ‘void’ metamatter, a circular wave-motion around it, and the sound tanon, emitting a specific swanon.

The sound tanon (shabda tanmatra) is the subtlest and perfect form of sound which can be ‘heard’ only by a perfect ear. It is here where swanons are formed. The sound swanon becomes transformed into the radiant (pashyanti) sound beyond the sound tanon level, and finally into sound-principle (para shabda).

Four Forms of Sound

Sound exists in four forms. It has been stated: ‘Sound is in four forms; the Brahmanas (the seers of Shabdabrahman) who have controlled their minds fully, know these four forms. Of these, the first three are hidden and unknown; the fourth form of sound is used by human beings’ (—Rigweda-sanghita, 1.22.164.45).

The four forms of sound are Para (supreme), Pashyanti (radiant), Madhyama (subliminal) and Waikhari (acoustic). The human beings hear only a part of acoustic sounds. The yogis ‘hear’ the other three forms in samadhi.

About the four forms of sound it has been stated: ‘Sound is about to sprout in para (supreme) form; it becomes two-leafed (that is first manifested) in pashyanti (radiant) form; it buds in the madhyama (subliminal) form; and it blooms in the Waikhari (acoustic) form. Sound which has been developed in the above-mentioned manner, will become unmanifested, when the order is reversed’ (—Yogakundalyupanishad, 3.18–19). Here, the stages of development of sound, from the supreme form to the acoustic form, and in reverse order, have been described.

Maheshwara said: ‘What is called Shabdabrahman, the nature of which is nada (causal or unmanifest sound), is an aspect of Supreme Infinite Being. Shabdabrahman as shakti (power) is in the form of bindu (supremely concentrated conscious power), and being in muladhara that shakti becomes Kundalini. From that arises nada (sound), like a sprout from a minute seed, called pashyanti by means of which the yogis see the universe. In the region of the heart (that is, in anahata), it becomes more pronounced, resembling thunder in the atmosphere. It is called madhyama. Again it (madhyama) becomes swara (voice) by the expiratory help and this is called waikhari’ (—Yogashikhopanishad, 3.2–5).

It has been disclosed above that Shabdabrahman is the source of sound. Shabdabrahman is in the form of sound which is unmanifest. So it is called para. The power in Shabdabrahman is bindu, from which issued the universe that is in the nature of pranawa (the first manifested sound). The cosmic bindu in an individual being resides in muladhara as Kulakundalini who is the source of all sounds. From Kundalini arises pashyanti nada. Pashyanti becomes more pronounced and particularized in anahata and is called madhyama. The madhyama sound is expressed as voice, and this is waikhari.

This Waidika exposition of sound has been adopted in the Tantras with explanations in greater detail. Shiwa says: ‘The source of nada (sound) which is called para (causal) arises in muladhara; that sound being in swadhishthana, becomes manifested and is called pashyanti that sound going up to anahata, becomes reflected in the conscious principle and is called madhyama; then going upwards in wishuddha in the region of the neck, by the instrumentation of the larynx, palate, the root and tip of the tongue, teeth, lips and nasal cavities . . . it becomes waikhari’ (—Tantrarajatantra, 26.5–9).

Further, ‘That eternal Kundalini in her Shabdabrahman aspect is the source of power in which is dhwani (power as supremely rarefied sound) that develops as nada (sound), then nirodhika (fire-energy expressed in control), ardhendu (the crescent moon), bindu (point) and para (supreme); and from para arise pashyanti, madhyama and waikhari sounds’ (—Sharadatilakatantra, 1.108–9).

Kundalini as Shabdabrahman is endowed with power which is in the nature of sound-substance, having the possibility of developing as sound-power (nada), which is associated with fire-energy in the form of control-power, that is, higher spiritual energy. The sound-power assumes a semilunar shape with which is connected concentrated divine power-consciousness. This is the latent sound which is unmanifest. This is para sound. From para arises pashyanti, and then madhyama and finally waikhari.

Para-sound

Kundalini has two aspects—supreme and sound. In her highest aspect Kundalini, as Supreme Kundalini (Mahakundalini), is united with Supreme Consciousness and is one with that. At this level there is a complete absence of sound in any form—ashabda (non-sound). Kundalini in this aspect is Infinite Supreme Consciousness, having no attributes. But in her specific powerfulness, Supreme Power is able to produce a power phenomenon from which emerges the universe of mind and matter. At this stage Kundalini is Shabdabrahman and her power is in the nature of sound-substance (dhwani). Sound-substance is not manifested sound, it is the life-energy principle (prana) which creates and operates in what has been created. This living sound-power is the causal sound and is called para-sound.

Supreme Brahman appears as Shabdabrahman when Supreme Power, which is one and the same with Brahman as Mahakundalini, ‘wills’ to express the kinetic counterpart of the static quiescent eternal reality. This aspect of Brahman is called Shabdabrahman, because the power which is going to be expressed is in the nature of nada—a phenomenon in which willing is imbued with effectivity in the form of pre-sound which becomes Supreme Bindu—the supremely concentrated power. The concentration is such as is fully ready to actualize the ‘willing’ of Supreme Power in her purely power aspect. This concentrated power is Bindu, because it is non-magnitudinous and non-positional power, which, when magnified, appears as splendorous and permeated with sonority without manifested sound. This power is Kundalini; as Shabdabrahman. Here lies the principle of sound—sound unmanifested and undifferentiated but power in maximum concentration and in the nature of sound-substance. This power-sound is para-sound.

In Shabdabrahman there is an arrangement in a latent phase, termed kamakala—the principle of the actualization of the power as sound. Supreme Bindu (supreme power-concentration) before the manifestation of creative power assumes a threefold character—the three specific power-points (bindus), termed bindu (second) (consciousness-point), nada (sound-radiating energy-point), and bija (sound-specificality-point), which constitute a triangular process. Each power-point emits a number of sound-potentials—the would-be sound units—arranged in a line, and the three lines form the triangle. All these are in a latent phase and unmanifest. This triangular process is kamakala (triangular process of power-points).

Pashyanti-sound

At a certain point of concentration of energy, Supreme Bindu bursts, as it were, and a great concentrated power in the form of sound emanates. This power-sound is Pranawa Nada and is ‘heard’ by the yogis in concentration. The power aspect is concentrated prana-energy from which the name pranawa is derived. The prana-energy in motion creates a series of force-motion-lines, consisting of four phases. On its first emergence from Supreme Bindu it creates ‘A’ line—the A-phase—which is transformed into ‘U’ line, called U-phase. It is then changed into ‘M’ line—the M-phase. Finally, it assumes ‘O’ (Tantrika letter O)-shaped line in which ‘M’ is changed into nada-bindu and ‘O’ becomes the bija to form ong, as it is ‘seen’ by the yogis in concentration. In this power-form the sound factor is inseparable. The power is sound and the sound is power. This is the first manifested power-sound phenomenon—pranawa. This is called pashyanti-sound—the first manifested radiant sound.

Pranawa is the first manifestation of para-sound : Para-sound is the source of pranawa. So, pranawa is the first manifested sound. From this arise all forms of sounds—mantras, Weda, language and all other sounds. All sounds are finally absorbed in pranawa and pranawa into para-sound. Para-sound is Shabdabrahman.

Pranawa is a complex organization of powers in which a basic power supports various powers. The prana-force, which is in motion in Pranawa, makes the three bindus (power-points), which are in a latent form in kamakala, operate, and the sound-potentials begin to be actualized as matrika-warna (sound-units). In Supreme Bindu, which is consciousness-power reality, there are concidynamism potentials in a massive concentrated state, that now begin to develop. The consciousness factor arises from Kundalini and power from Prana. Of the three bindus (power-points), nada is the centre of pranic force, which is the fundamental sound-factor and from which occurs an emission of a super-refined ray (rashmi) of red colour. This is termed Rajasguna (primary energy-principle). The red-power at the bindu becomes yellow radiant conscidynamism, termed Sattwa-guna (primary sentience-principle). The sound factor of the redray becomes a specific sound at the bija. The red-power is changed here into black-power which is termed Tamas-guna (primary inertia-principle).

The red-ray emission creates a red-line—rajas-line, which releases sixteen sound-units. In a similar manner, yellow and black-lines are created, and are called sattwa- and tamaslines respectively. From each of them sixteen sound-units are released. These three lines form and equilateral triangle standing on its apex. The left side of the triangle is the red-line, the base is the yellow-line, and the right side is the black-line. These three lines are the three forms of power, termed Wama, Jyeshtha and Roudri. Wama is the red-line and consists of sixteen sound-units from
a
to
ah
; Jyeshtha is the yellow-line, consisting of sixteen sound-units from Ka to Ta; and Roudri is the black-line, consisting of sixteen sound-units, from Tha to Sa. In the three angles of the triangle are three sound-units, named Ha, between the red-line and the yellow line, Ksha, between yellow-line and black-line, and La (Rhha) at the apex within the triangle between the black-line and red-line. Ha is the moon-point, Ksha is the sun-point, and La is the fire-point. Wama-power is associated with the Brahma-Consciousness; Jyeshtha with Wishnu, and Roudri with Rudra. The red-energy in the yellow field creates mind and senses, and in the black field it creates tanmatras and mahabhutas. Sound-units operate in Madhyama-sound.

The emerged prana-force begins to throb in pranawa in its characteristic manner, causing to be emitted what is called pranawa sound. The sound-motion is in the nature of what has been termed samanya spanda—basic infinitesimal motion almost uniform in character, which shows insignificant change in form. It is more quiescent than motional. It is the motional totality without having any specificality. The prana-throbbing and sound-motion are the same thing, or two aspects of the same thing. Sound is the exact nature of throbbing prana. The manifestation of prana-force is in the nature of sound. Sound is the mode of apprehension of power which is in motion. The sound pattern of the motion is Ong—the pashyanti-sound. Ong is the whole sound. Sound is also the mode—the only mode—of the un-coiling of the coiled power.

Madhyama-sound

The pranawa power-sound-motion changes from its vast and vague character to a clearly defined specific pattern in which limitedness and changeableness are more and more marked. The one pranawa-sound now becomes many particularized sounds. Hence, they have been termed wishesha spanda—particularized motion. The singularity of sounds arises from the bija which is ‘O’, as there is only one sound which is Ong. Now the plurality of the bija develops. But the nada-bindu factor of pranawa is retained, which becomes an intrinsic part of the newly developed bijas. This manifold specialized sound phenomenon is madhyama-sound developed from pranawa. Pashyanti-sound becomes madhyama-sound.

Pranawa is the original sound which is one and without parts and represents the manifested power as a whole. In detailed manifestation of power which occurs at the madhyama level, there is an expression of specialization and plurality. The original sound homogeneity existing in pranawa begins to change into sound heterogeneity existing in madhyama. Here matrika-warnas or matrika-arnas (primary soundunits) come into being. The word ‘matrika’ usually means mother, but here it is used in a technical sense. It stands for the warnas (particularized sound-forms) as a whole. Warna is usually translated as a letter of the alphabet. But the technical meaning of it is a particular sound-form. There are fifty warnas or sound-forms. Collectively, all fifty sound-forms are called matrika. So it is called a garland of fifty (mala pañchashika).

The fifty sound-forms are from a to Ksha The sound-forms from a to Ksha are collectively named Matrika. As there are fifty matrika letters from a to Ksha, matrika is also called fifty-matrikas (pañchashanmatrikah). These sound-forms (from a to Ksha) are the bijas, that is, specialized sounds. So it is stated: ‘a to Ksha sounds which are matrika are in the nature of bija’ (—Kamadhenutantra, ch. 1, p. 1). These sound-forms are not lifeless letters; they are in the nature of consciousness and power. It is stated: ‘The warnas (letters) from a to Ksha are Shiwa (Consciousness) and Shakti (Power); these warnas are (Shabda-) Brahman and exist always’ (—Kaṅkalamalinitantra, ch. 1, p. 1).

Matrika is living power and forms mantra. It has been stated: ‘Matrika is living power and in the form of mantra’ (—Kamadhenutantra, ch. 10, p. 12). Matrika is that power which leads to yoga. So it is stated: ‘These are matrika-warnas (letters) which are within the sushumna and are in the nature of yoga; without the help of akshara (letter) spiritual yoga is not attained’ (—Kamadhenutantra, ch. 12, p. 14). The matrika sound-forms are the detailed manifestation of pranawa-sound. It has been stated: ‘Fifty-matrikas arise from nada (here pranawa-sound) in a regular order’ (—Wishwasaratantra, ch. 1, p. 4).