Layayoga: The Definitive Guide to the Chakras and Kundalini (32 page)

(c) common forms,

2  Music (vocal and instrumental).

3  Sounds from animals.

4  Sounds in nature.

5  Artificially created sounds.

Mantra

Mantra is in the nature of Kundalini and Consciousness. It has been stated: ‘Mantra is in the nature of Shiwa (Supreme Consciousness) and Shakti (Kundalini power); mantra arises from the muladhara. Those who are able to hear mantra or to expound it are rare’ (—Yogashikhopanishad, 2.5). Mantra comes into being from Kundalini who is in muladhara. Kundalini manifests herself as mantra. As Kundalini is never without Shiwa-consciousness, so mantra is of Kundalini and Consciousness.

Mantra is endowed with the power of transforming thinking into deep concentration and causing the life-power motion to be absorbed into sushumna, thus effecting effortless breath-suspension. It has been stated: ‘Because of the power of concentration, of the conduction of central bio-energy into sushumna, of arousing divine consciousness, and of its being based on Supreme Consciousness, it is called mantra’ (—Yogashikhopanishad, 2.7–8). Mantra which originates from Kundalini in muladhara is also called mula (basic)—mantra. Mula means root or basis. The mantra which originates directly from Kundalini in muladhara and is the root of all other mantras is called mulamantra. So it is stated: ‘That which is the root of all mantras, which arises from muladhara, and because of the real form of the root (that is Kundalini) in its subtle nature is embedded in that (muladhara), it is called mulamantra’ (—Yogashikhopanishad, 2.8–9).

It has been further stated: ‘Through the process of concentration spiritual protection is effected; this is why it has been termed mantra. In all mantras power-in-sound-form (wachaka-shakti) is inseparably linked with power as Consciousness (wachya-shakti)’ (Ramatapinyupanishad, 1.1.12). Therefore, mantra is endowed with the power of protecting the practitioner spiritually through the process of concentration. Thinking develops into concentration by mantra, and this mantra-concentration offers spiritual protection.

Ishwara stated: ‘It is called mantra, because deep concentration on the true form of the immensely lustrous dewata (embodied divine consciousness) and protection from all fear are effected by it’ (—Kularnawa, ch. 17, p. 84). Mantra, technically, is derived from ‘man’ and ‘tra’. ‘
Man
’ means manana, that is, concentration, and ‘tra’ means trana, that is, protection. This means that our consciousness becomes free from worldly thoughts and goes into a state of concentration by mantra. Or, ‘man’ = mana to mean consciousness, and ‘tra’ to mean protection, that is, as consciousness at the sensory level is multifarious in character, so its higher aspect is hidden. Mantra is that process by which superconsciousness is preserved by controlling oscillations of consciousness and developing concentration. Mantra is that sound-power by which the uncontrolled mind becomes controlled and concentration is established.

There is still another factor. In pranawa, the final sound-power of ‘m’ is transformed into nada-bindu, that is, the sound ‘ng’ on which the effectivity of ‘Ong’ as a mantra depends. Then the matrika-sounds and all mantras formed by matrika are endowed with ‘
ng
’ sound-power as an intrinsic part. As ‘
ng
’ sound is the inmost constitution of mantra, and as ‘ng’ sound has developed from the ‘m’ factor, so the sound-phenomenon has been termed mantra, the ‘m’ factor being used at the beginning of the word. Moreover, the bija-sounds of mantra are finally reduced to nada-bindu, therefore, the nada-bindu is the vital part of mantra, and, as this vital part develops from ‘m’, so ‘m’ has been used as the first letter in mantra. This is why ‘m’ is called mantresha—the lord of mantra; that is, the supercontrol-power of mantra lies in ‘m’.

So we find that mantra is that form of power-sound which arises from Kundalini, first as concentrated, uniform single sound, termed pranawa, which develops as multiform specialized sounds—matrika—and their complex combinations that can be transformed into waikhari (gross)-sounds. To put it in another way, mantra is the uncoiling of Kundalini as sound-power from her subtle state. So Kundalini has two forms—the subtle luminous form, and the mantra-form. When the luminous form is aroused in muladhara, Kundalini absorbs mantra. On the other hand, when mantra is aroused, Kundalini manifests herself as a Divine Being in an appropriate form, and that finally leads to luminous form.

When pranawa-sound first issued from Supreme Bindu, there was an agitation in prakriti by which the minus gunas imbedded there became plus factors. At the sattwa point, mantra-sound-power has created mahan manas (superconscious mind), and at the tamas point shabda tanmatra (sound tanon) has been created. Pranawa develops into fifty matrika-sounds, and matrika creates bija(germ)-mantra, other forms of mantra and Weda-mantra. Bija-mantra is that form of mantra in which sound-power is in great concentration and from which dewata arises. It is that concentrated sound-power which makes Kundalini manifest as dewata. Bija-mantra may be a simple matrika-sound, viz. ‘Gang’—the bija-mantra of Dewata Ganesha. On the other hand, a bija mantra may consist of a combination of two matrika-units, viz. ‘Houng’—the bija-mantra of Dewata Shiwa. A bija-mantra may be a combination of more than two matrika-units. A bija-mantra may have more than one bija and one or more sound-forms constituted by a number of appropriate matrika-units without nada-bindu to increase the power of the bija. In Weda-mantra, different matrikaunits, generally without nada-bindu, constitute word-forms. Certain word-forms are used as mantra, while others present thought-knowledge-forms which are received and understood by one who has purified his mind and raised the level of intellection to the spiritual level. Many such minus nada-bindu word-forms are masked forms of matrika-units with nada-bindu. As, for example, the word ‘yama’ is the masked form of matrika-unit ‘yang’.

Pranawa is the first mantra. It has been stated : ‘What all the Weda declares to be attained, what all ascesis is directed towards, and for what thought-emotion control is practised, is, in brief, that sound which is called ‘Ong’. This Ong is Shabdabrahman and also Supreme Brahman. . . . This spiritual practice is the best and highest. . . .’ (—Kathopanishad, 1.2.15–17). At first, by the practice of the pranawa mantra, Shabdabrahman is attained. Then the pranawa-sound recoils into Kundalini. Thereafter, by deep concentration on luminous Kundalini, non-sound Supreme Consciousness is reached.

Pranawa is a combination of three sounds which arise from ‘a’, ‘u’ and ‘m’. As long as ‘a’, ‘u’ and ‘m’ form three separate sounds, the yogi will not be able to reach the Shabdabrahman level. Each separate sound does, of course, produce results, but this does not lead to Kundalini. When the three sounds become one sound, it is the pranawa-sound as it is manifested in Ong. It is an extraordinarily grand sound, which contains the germ of the summation of all fifty matrika-sounds. It is called pashyanti-sound. When concentration is not deep, the penetration of outer objects into consciousness cannot be completely eliminated. When concentration is interrupted the one sound appears as three sounds. But in deep concentration the three sounds become one and inseparable. This is possible when the external, the internal and their connecting links are under control. This has been termed bahyabhyantara-madhyama-kriya (externo-interno-median process) (—Prashnopanishad, 5.6). By the external is meant the outer objects, and by the internal, consciousness, and the middle is their connecting links—the senses. This is the process of senso-mental control.

At the sensory level, the three sounds are actually two sounds—that of ‘a’ and ‘u’; the ‘m’ sound disappears after the ‘u’ sound. The ‘a’ and ‘u’ sound-powers are transformed into piṅgala and ida power-lines which maintain inspiration and expiration. The silent ‘a’ sound expresses itself as inspiration, and the silent ‘u’ sound as expiration. The third sound ‘m’ disappears at the interval between expiration and inspiration. The ‘a’ ceases because the ida-flow causes expiration. The ‘u’ ceases because inspiration is induced by the piṅgala-flow. So ‘a’ and ‘u’ can never be united unless the piṅgala-ida flows are transformed into sushumna-flow. In sushumna-flow inspiration and expiration are changed into kumbhaka (breath-suspension). In sushumna-flow ‘a’ and ‘u’ are united to effect ‘o’ which is a long sound starting from the muladhara and passing through the swadhishthana, manipuraka, anahata, and wishuddha, where the genuine ‘o’-sound is heard. Then ‘o’ passes the ajña and thereafter the subdued ‘m’-sound appears as nada-bindu and becomes linked to ‘o’ and effects one sound. The one sound now passes the sushumna and enters the sahasrara and is absorbed into Shabdabrahman, and samadhi is attained.

From the pranawa-sound matrika-sounds arise at the madhyama level. There are 50 matrika-sounds, from ‘ang’ to ‘kshang’. The matrika-sounds can again be transformed into pranawa-sound, and pranawa-sound into Kundalini by the mantra-process. In this process the matrika-sounds are combined with ong, viz., ong ang, ong ang, ong ing, etc. By this process, the matrika-sounds are gradually absorbed into pranawa-sound.

However, matrika-sounds possess specialized powers which are aroused by the mantra-process. The matrika-sound ‘ang’ has the death-conquering power; at the spiritual level it gives immortality by bringing the disciple beyond matter-mind, and, at the material level, it promotes health and longevity. It is present also in all sounds; it is all-pervading. The ‘
ang
’-sound is all-pervading, and in the nature of attraction. It creates affection in the mind and the disciple becomes the centre of attraction. The ‘
ing
’-sound promotes growth of the body and general welfare, but it also causes great disturbance and pain to those who slip from the spiritual path. The ‘
ing
’-sound develops the power of higher speech and is in the nature of purity. The ‘ung’-sound imparts vital vigour and is the essence of strength. The ‘
ung
’-sound causes spiritual strength through unbearable pain and sorrow. The ‘ring’-sound is the power causing agitation and is tremulous in character. The ‘ring’-sound presents charming splendour. The ‘lring’-sound causes enmity and bewilderment. The ‘lring’-sound is also bewildering. The ‘eng’-and ‘aing’-sounds are pure sentience and charming. The ‘ong’-sound is in the nature of all speech and purity. The ‘oung’-sound is all speech and is endowed with the power of subjugation. The ‘ang’ (that is ‘ng’)-sound has the power of control over animals and is bewildering. The ‘ah’-sound prevents death and is violent in nature.

The ‘kang’-sound gives happiness and prosperity. The ‘khang’-sound causes agitation. The ‘gang’-sound removes all obstacles and is great. The ‘ghang’-sound gives good fortune and stops what is not good. The ‘nang’-sound is mighty. The ‘chang’-sound is destructive in nature. The ‘
chang
’-sound is formidable. The ‘shng’-sound destroys all evil and causes fear. The ‘jhang’-sound destroys unspirituality. The ‘nang’-sound is the conqueror of death. The ‘tang’-sound is endowed with superpower and is the destroyer of all diseases. The ‘thang’-sound is moon-like and is helpful in concentration, and bestows pleasure. The ‘
dang
’-sound is very powerful and splendid. The ‘dhang’-sound gives wealth and good fortune. The ‘nang’-sound is the bestower of all success and causes infatuation. The ‘tang’-sound is kindly disposed and a wealth-giver. The ‘thang’-sound leads to religious attainment and to purity. The ‘dang’-sound is pleasing and promotes growth. The ‘dhang’-sound is great and the conqueror of disease. The ‘nang’-sound develops tranquillity and gives enjoyment and liberation. The ‘pang’-sound is auspicious and the remover of all obstacles. The ‘phang’-sound is lustrous and leads to superpowers. The ‘bang’-sound is the destroyer of all evils and splendid. The ‘bhang’-sound is frightful and the destroyer of worldliness. The ‘mang’-sound causes temptation and enmity. The ‘yang’-sound is all-pervading. The ‘rang’-sound causes pain and sickness. The ‘lang’-sound is splendid and all-sustaining. The ‘wang’-sound promotes welfare and gives purity. The ‘shang’-sound is pure and bestows success. The ‘shang’-sound is pure and leads to virtue and causes wealth and the fulfilment of desires. The ‘sang’-sound is the root of knowledge. The ‘hang’-sound is pure and bestows knowledge. The ‘kshang’-sound gives spiritual and worldy knowledge and is splendorous. It is, as it were, a crest-jewel.

We find that a matrika-unit is a specific power operating in its individual characteristic manner. The power-line created by the operation of the power is called a specific warna, which is at the same time emitting specific sound. So, a matrika-unit is a specific power in specific sound-form. Each matrika-unit is a mantra. Some of these matrika-units, when combined in a definite manner, create specific sound-power in a highly concentrated form. These are the bija-mantras—concentrated powers in sound forms. Other mantras are also created. And finally, the Weda has been created. All spiritual potentials and creative elements contained in the matrika-units grow through the Gayatri mantra and culminate in the Weda. Here the arrangements of the matrika-units have taken a characteristic course to form words and, at the same time, they become mostly minus nada-bindu. These words appear to be more like a language at the sensory level. The mantra-power of matrika has been transformed in the Weda into a rarefied form of sentience containing the knowledge patterns of both cosmic and spiritual phenomena by specialized letter-arrangements. Here, mantra-power has lost its specificity, and is changed into cosmic and spiritual knowledge patterns. The real meanings of these knowledge-buds cannot be deciphered with the help of mere linguistic knowledge. The highly technical letter-and word-combinations are only known to the yogis who have realized mantra and its power transformation.

Mantra has two forms of power: wachaka-power and wachya-power. Wachaka-power is Kundalini in sound-form. Kundalini herself is mantra. It is in this power that mantra exists as a vital force. By the mantra-process the mantra-sounds are reduced to Kundalini-power; and then Kundalini assumes the appropriate divine form—dewata—and is revealed to yoga disciples in that form. So mantra-sounds can be transformed into Kundalini when she appears as dewata. When a disciple is able, at this stage, to transform concentration on the dewata form into superconcentration, and is fully established in it, dewata will, step by step, be recoiled into Kundalini; and Kundalini will be Mahakundalini and will shine forth as attributeless Supreme Consciousness. This is the wachya-power of mantra—Mahakundalini as Supreme Brahman.