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45th Sutra is the last one in the series of understanding Samāpattis in the Yoga Darshana, the first chapter, the 45th Sutra is
सू॒क्ष्मवि॒ष॒य॒त्वं चालिङ्गपर्य॑वसा॒नम् ॥ १.४५॥
Sūkṣma-viṣayatvaṃ ca aliṅga-paryavasānam ॥ 1.45 ॥
Sūkṣma is subtle, Viṣayatvam subjectedness, topic, Cha is and Alinga is no symbol, no attributes, attributeless; that is called Alinga, Linga is a symbol. Symbol has an attribute, So Linga means an attribute, Alinga is no symbol, no attribute, Pariyavasānam is the culmination, the result, the end point. So Sūkṣma-viṣayatvaṃ ca aliṅga-paryavasānam - That is the Sutra. That means the end of subtlety, the last point of subtlety, means subtlest of the subtlest because subtle is the Viṣayatvam. How much subtle it can be, that is a subject matter, that is a Viṣayam, and the subject of Sūkṣma, Sūkṣma Viṣayatvam, and that ends, Pariyavasānam, culmination, is in Alinga, no attributes, no symbol at all, technically called as Pradhāna. Pradhāna it is called. So subtlest of the subtlest subject ends in Pradhāna, Alinga. That is the meaning of this particular Yoga Sutra.
But we should understand what is this subtle, Sūkṣmatva, for the meditation at least for meditation, subject for meditation culminates into Alingatvam. Subtleness of the subject, any subject, if you take up, any object you take up for meditation, whether it is mental or the external, the subtleness of that subject ends up in the Alinga, no attribute.
It is a very wonderful Sutra. Unless we understand the reference for the Sūkṣma, the Sutra will not be clear. The Sūkṣmatvam of all the Viṣayas, all the subjects and the objects, are called as the Tanmatras, because all the objects in this world are made out of Pañchabhutas - Pṛthvī, Āpaḥ, Tejas, Vāyu, Ākāśa. Tanmatras are the subtlest of these Pañchabhutas. Pañchabhuta is the object, gross; subtlest of this is the Tanmatras. A flower is gross, but subtlest of the flower is Tanmatras connected to that; we will see that. And subtlest of the subtlest, that is the Alinga. Let us take an example, a rose and Pañchabhutikam, it has five elements - Pṛthvī, Āpaḥ, Tejas, Vāyu, Ākāśa - it has space, it has grossness -, weight - Pṛthvī, It has a taste - Āpaḥ, texture, it has a color, and it has a smell. But subtlest of subtle forms of these Pañchabhutas are called as Tanmatras, they are the Shabda, Sparsha, Rupa, Rasa, Gandha. Gandha is connected to the Prithvi. Rasa is connected to the water, Apaha. Rupa is to the fire, Agni. Sparsha is a form of touch. Shabda is the Akasha. Shabda, Sparsha, Rupa, Rasa, Gandha.
Why this understanding is necessary? Because of the word Sūkṣma used, and to understand the subtlest of the gross materials, subtle, there is a need to understand that. But the beauty is, each one is categorized and includes the gross ones. Means, suppose the Gandha Tanmatra is there, which is the grossest one, includes the other four. Means anything which smells has the other four, Shabda, Sparsha, Rupa, Rasa. And Rasa Tanmatra includes the remaining three, Shabda, Sparsha and Rupa. It excludes Gandha, Rasa Tanmatra and other things are continuations like that. So each one includes and excludes something. That is how subtleties are maintained. So if a meditator chooses a very concrete material as the object of meditation, during the process of meditation, the same subject will be experienced in its subtler and subtler stages, and ultimately the last subtlest of the subtlest, Alinga Pradhāna, remains, merges in that. And this is an important dimension. And that is how the word Sūkṣma Viṣayatvam Ca Alinga Pariyavasānam.
So by meditation or Samāpattis, transformation process which is happening, in the process of transformation which is happening from the gross to the Sūkṣma levels, the Pariyavasānam, the last culmination, is the Alingatvam. That is where the Chitta ends, comes and stays there, the last but one, just the final Purusha is there. This is how the Sūkṣmatvam is understood, subtleties, and that is an important dimension which is to be understood. So any object of meditation ends up into the subtleness of the same object, and that is where the subtle to still subtler, still subtler and to the subtlest, and there finally the gross loses and the subtlety remains, and even beyond that subtlety the Alinga stays back and that is the expression of this particular Sutra.
That is Patanjali expounding, describing the states of the mind in the process of entering into Samadhi, and the Samāpattis, states of the Chitta, and that is how this particular Sutra is explained - Sūkṣmaviṣayatvaṃ Cālinga Pariyavasānam.
Oṃ śāntiḥ śāntiḥ śāntiḥ. ॐ शान्तिः शान्तिः शान्तिः|| To Be Continued.. ---------------------------------------- These are transcription of session delivered by Vice-President of Vivekananda Rock Memorial & Vivekananda Kendra, Sri M. Hanumantha Rao Ji. Audio Link - https://youtu.be/xwVe0ceGbuc?si=BACFOLSVVj6fu6h0
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मुक्तसंग्ङोऽनहंवादी धृत्युत्साहसमन्वित:।
सिद्धयसिद्धयोर्निर्विकार: कर्ता सात्त्विक उच्यते ॥१८.२६॥
Freed from attachment, non-egoistic, endowed with courage and enthusiasm and unperturbed by success or failure, the worker is known as a pure (Sattvika) one. Four outstanding and essential qualities of a worker. - Bhagwad Gita : XVIII-26
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