Sunday, 7 July 2024

Yogopanishads – Yogashikha Upanishad

Transcription of the lecture given by Mananeeya Sri Hanumantaraoji, All India Vice President of VRM & VK

Yogashikhopanishad (Yogaśikhopaniṣad) - Yoga Shikha Upanishad is from the Krishna Yajur Veda, and it has six chapters. The six chapters contain 390 mantras. The first chapter is the largest one with 178 mantras. The second one has 22. The third one has 25 mantras. The fourth has 25, and the fifth has 62 mantras. The last one, the sixth adhyayam, has 79 mantras. So put together, Yoga Shikha Upanishad of the Krishna Yajur Veda has 390 mantras distributed among six chapters.

 

The Upanishad begins with beautifully explaining about the shad ripus, that is Kama, Krodha, Lobha, Moha, Madha, Matsaras. If they are removed from the Jeeva, it is the Paramatma. The Upanishad doesn't say Paramatma having these six rupus is the Jeeva. It doesn't say, it cannot be. Only Jeeva without shad ripus is the Paramatma. That does not mean or imply Paramatma with shad ripus is Jeeva. No. The Jeeva, having shad ripus, is unable to recognize the Paramatma. In fact, Yoga Shikha Upanishad puts it beautifully: there is no Jeevatma, there is no Paramatma. What is there is only Paramatma. And because of the shad ripus covering it, Jeevatma feeling comes, and this removal of the shad ripus is the only method for recognition, experience, or what we say, enlightenment for the Jeevatma to feel and experience, or what we say, to be one with the Paramatma. And that is how the Upanishad puts it: this Jeeva Bhava is because of the shad ripus. And for that, Aham Bhava is the important block. Aham Bhavaha is the reason for the shad ripus' existence, and this Aham Bhavaha, "I am, I am-ness," the elimination of that is the essential need and essential dimension for the Yoga Shikha Upanishad. And this is:

 

kāraṇena vinā kāryaṃ na kadācana vidyate।

ahaṃkāraṃ vinā tadvaddehe duḥkhaṃ kathaṃ bhavet।।

 

If Ahamkaram is not there, there is no Dukha at all. So, this feeling is the essential cause for the Jeevatma.

 

And the Upanishad explains beautifully in the 51st mantra of the first chapter that Jnana Yoga and Yoga are interdependent and they are incomplete with the absence of the other. One supplements the other, one fulfills the other,

 

yogena rahitaṃ jñānaṃ na mokṣāya bhavedvidhe।।

 

jñānenaiva vinā yogo na siddhyati kadācana।

 

That means without Yoga, there is no Moksha as Jnana speaks. And without Jnana, there is no Siddhi as Yoga speaks. So, Jnana Yoga and Yoga method are interdependent, interrelated, and intertwined, and both go together, one after the other.

 

Then the Upanishad speaks about the four Kumbhakas. Jeevatma Bhavam, to remove it, that I am the body, I am limited, I am Jeevaha, I am not Paramatman; to remove such feelings, to root them out, to cut off all this. The four Kumbhakas have been explained: that is the Suryabhedha, Ujjayi, Sheetali, and Bhastrika. Many of the Yoga instructors and teachers, we teach, we practice Suryabhedha, Ujjayi, Sheetali, and Bhastrika, but we never tell what is the final purpose, what is the final goal. We always say that Suryabhedha Pranayama gives this result, Ujjayi Pranayama gives this result, Sheetali Pranayama cools the body, Bhastrika Pranayama is good for that. We all talk with very meager, simple, physical, ordinary, material benefits. But the Yoga Shikhopanishad puts it, these four Kumbhakas enlighten, raise a person:

mukhena vāyuṃ saṃgṛhya ghrāṇarandhreṇa recayet।।

 

 śītalīkaraṇaṃ cedaṃ hanti pittaṃ kṣudhāṃ tṛṣam।

 

Sheetali Karanam - it talks about the Sheetali Pranayama: "mukhena vāyuṃ saṃgṛhya ghrāṇarandhreṇa recayet," that is, inhaling through the mouth and exhaling through the nostrils. It cools down the system. Pitta is removed. Kshudbadha is reduced. Hunger is removed. Similarly, Ujjayi pranayama was talked:

 

kaṇṭhe kaphādi doṣaghnaṃ śarīrāgnivivardhanam।

nāḍījalāpahaṃ dhātugatadoṣavināśanam।।

Practice of Ujjayi pranayama: it removes kapha doshas and enhances body temperature. That means yatharagni is enhanced. Digestive system gets improved, and that is how, and then practice of Surya Nadi, Surya Bheda pranayama balances the temperature in the body. Entire body temperature is maintained normally irrespective of the external changes. The body temperature is maintained. That is the Surya Bheda pranayama. Surya Bheda kumbhaka it is. Then Ujjayi kumbhaka, Shitali kumbhaka, then the Bhastrika kumbhaka.

 

The Yogashikha Upanishad also gives practices of the bandhatraya: Moola bandha, Uddiyana bandha, and Jalandhara bandha. How it is to be practiced? Moola bandha, as we are aware, it is the bandha closing, stopping the apana vayu exit route i.e. the anal sphincters. That is Moola bandha. Then the Uddiyana bandha is the middle one at the navi level. Bandhana is practiced. Then Jalandhara bandha is at the throat level. So, Moola bandha, Uddiyana bandha, and Jalandhara bandha. The Upanishad talks beautifully about the benefits of these three bandhas also. So, three bandhas.

 

Then the Upanishad speaks about the four yogas: Mantra yoga, Laya yoga, Hatha yoga, and Raja yoga. It talks about all the four important basics and says what Mantra yoga is. Mantra yoga is constant awareness of the sound of breathing and this constant awareness and experience and feeling of the breathing with mental chanting of the Om. Prana spandana shabda with Pranava shabda -  that harmonizing is mantra yoga, it calls it. It is called mantra yoga. The normal natural sound of breathing synchronized, aligned with the Manasika Omkara japa. This is mantra yoga.

 

Then the Upanishad talks about Hatha yoga. Hatha yoga is joining, combining prana movement in Suryanadi and prana movement in Chandranadi. That is the flow of breath on the right side and the left side combined. That is Hatha yoga. Surya and Chandra, that is the cooling effects in the body, warming effects in the body. That is balanced. That is Hatha yoga. Then Laya yoga is merging the mind, quietening the mind, producing the thoughts in the mind. That is Laya yoga.

 

Then the Upanishad talks about the various dimensions and finally, beautifully, the Upanishad says the practices should be slow. "Shanai Shanaihi" - the Upanishad says. The practices should never be fast, quick, dynamic, tiring, exhausting, sweating. Yoga Upanishad prescribes, formulates, defines that yoga practices should be slower and slower within the limitations of the practitioner. "Shanai Shanaihi" - the Upanishad uses beautiful terminology. The practice has to be slow and slow, and it has to be with the guidance of an instructor or a Guru. Abhyasa yogat evaha mukti. Then only it brings out freedom from the inflictions and the difficulties. That is how the Upanishad raises the body as a temple of Shiva. Our own body is nothing but Shivalayam. The Upanishad calls it Sharire Shivalayam and how the body is Shivalaya. In a Shiva temple, when we go there, what are all the parts of the temple, what are all the external and internal precincts of the temple, what are all the parts of the temple, the Upanishad equates it that is the part of our body. So, the body itself is a Shiva temple. It means that all the Shiva temples are within the body and the body itself is a seat of Shivaha, Shivasthanaha it is. And that is how beautifully the Yoga Shikha Upanishad explains, describes, actually gives the temple architecture. It harmonizes and synchronizes with the body structure. It is simply feeling that our whole body is nothing but Shiva Swarupaha. It is a home of Shiva. It is a seat of Shiva.

 

Then the Upanishad talks about beautifully how the body is a composition of the energy centers, that is, the shad chakras. The Yoga Shikha Upanishad talks about the Muladhara chakra having a triangular shape. Its position is at the center of the anus and the genitals, and it is the seat of the Kundalini and the place of the beginning of the sound, the nadaha. The second is the Swadhishthana chakra at the navel region. Then the Manipura chakra, having 10 petals of the lotus. In the heart region is the Anahata chakra, having a 12-petaled lotus. Then the peeta is the Puranagiri. Then the Vishuddhi chakra is the 16-petaled lotus or 16-petaled chakra at the Vishuddhi chakra. Then the Ajna chakra, which has two petals at the center of the eyebrows. That is how the Yoga Shikha Upanishad gives a brilliant and important suggestion, method, and technique within our body to recognize the energy centers and to have meditation, contemplation, and knowledge of those energy centers within ourselves. And how they can be recognized by the practice of Uddiyana bandha, Jalandhara bandha, and Moola bandha. The Moola bandha is to recognize the Muladhara chakra. Uddiyana bandha is for the Swadhishthana and the Manipura. The Vishuddhi, and Ajna chakras for the Jalandhara bandha.

 

How beautifully the Upanishad explains the methods of the yoga practitioners and who is the adhikari for the yoga practice, who can practice these yoga practices. The Upanishad prescribes wonderfully "dvādaśābdaṃ tu śuśrūṣāṃ yaḥ kuryādapramādataḥ" means practicing, serving a guru for 12 years, learning the yoga methods, and subtleties and subtle techniques of the yoga from a guru, serving him for 12 years. That is how the Upanishad beautifully explains. An entire second chapter, 22 mantras, are full of Aum. The Akara, Ukara, Makara, and Mula Mantraha, Mula Pravanaha. How Aum is the entire symbol of the world, how Akaraha, Ukara, Makaraha. Akaraha is the Jagrata avasthaha, Ukara is the Swapnavasthaha, Makara is the dreamless Sushupti level. When our own consciousness, when we are aware of the entire world, when we are active, when we are in a state of knowing everything, that is the Akara. And when we are sleeping and dreaming, that is Ukara. And in a dreamless state, it is Makaraha. We regularly undergo and our consciousness undergoes these three states continuously, though there are two more states, Turiya and Turiyatita level. All these descriptions are given by the Aumkaraha. Akara, Ukara, Makara are the Jagrata, Swapna, Sushupti. Then the Bindu is the Turiyatita level, and the Ardhamatra is the Turiya level. So the five levels, five stages of the human conscious level, the existence of the human consciousness equated to the Akara, Ukara, Makara, Ardhamatra, and the Bindu of the Aumkaraha. The entire 22 mantras talk about this brilliantly.

 

And then the third chapter talks about the four stages of the Nada, the Shabda, and the Aumkaraha: Para, Pashyanti, Madhyama, and Vaikari, the four levels of Akaraha, Para, Pashyanti, Madhyama, and Vaikari of 'A'(अ); Para, Pashyanti, Madhyama, Vaikari of Ukara; Para, Pashyanti, Madhyama, and Vaikari of the Makaraha; and the Para, Pashyanti, Madhyama, Vaikari of the Aumkaraha. It is so beautifully the levels and the stages and experiences, how to experience, how to judge ourselves, how to measure our practice levels. The entire third chapter of the Yoga Shikha Upanishad talks about this, and the Upanishad brilliantly talks, gives beautiful suggestions.

 

In the fourth chapter of the Yoga Shikha Upanishad is the falsity of the Jiva. What we feel, "I am the body," our relationships, "my body, my hand, my legs, my thoughts," this "my, my, my," "my relations, my friends, my material," all these things, these connections, how these are all false, fake. The Upanishad beautifully explains with the reasons the falsity of the Jivatma:

caitanasyaikarūpatvadbhedo yukto na karhicit।

jīvatvaṃ ca tathā jñeyaṃ rajjvāṃ sarpagraho yathā।।

 

rajjvajñānātkṣaṇenaiva yadvadrajjurhi sarpiṇī।

 

Means, beautifully the example is given, Rajju Sarpa bhranthi. As long as we do not know that what we are seeing is the rope, we continue to feel it is a snake. We see a snake, and we are afraid of it. And this fear of the snake and seeing of the snake is lost or gone only when we know that it is not a snake and it is only a rope. "Oh, after all, it is a rope." Until this knowledge comes, then the false knowledge does not go. Until we understand that we are the Paramatman, we will not lose, we will not be free from the knowledge of the feeling that we are the Jivatman, "I am the body." This wrong identification, wrong attachment to this body, and feeling this body is everything. And all the requirements and attachments and necessities and needs and wants are for the fulfillment of this body, the requirements of the body. And we are engaging entire life in that. And this is the falsification. Like the existence of the snake continues to be there as long as we don't recognize that it was actually not a snake but a rope. This is the entire fourth chapter of the Yoga Shikhopanishad.

 

The fifth chapter brilliantly explains that the entire body is the Vishnu Alayam. The body is full of Vaishnava Alayam, how the body is Narayana, Vishnu. As we have seen the Shiva Alaya in the first chapter, and here it says the Vishnu Alayam. It only means that Shiva and Vishnu are not different, and Shiva and Vishnu are one and the same, and that both are, it is not both, it is one expressing as the two, and that one expressing as the two is our self, our real self. So whether it is Shiva or whether it is Vishnu, whether it is Shiva Alayam or Vishnu Alayam, it is our own existence. The body is Shiva Alayam. The body is Vishnu Alayam. So the Upanishad beautifully explains that the entire structure of the Vishnu temple is the body. It equates to the body. The Narayana and the Shiva, the Vishnu and Shiva are within ourselves. Our body is so wonderful. Our body is so expansive and so pure, so pavitrata it has to be, the pavitrata, the shuddhata has to be maintained as we maintain the pavitrata and shuddhata of the Shiva temple or of the Vishnu temple.

 

Then the Upanishad gives beautifully the Panchagnis: Kalagnihi, Moolagnihi, Badavagnihi, Grahagnihi, and the Suryagnihi. Kalagnihi is the heat below the navel region. Moolagnihi is the heat surrounding the Nabhi region. Badavagnihi is the heat at the thoracic chest level. And the Grahagnihi is the heat at the anus level. The Suryagnihi is the heat spread throughout the body and just surrounding the body. The temperature and the heat not only within the body; the temperature, heat within the body also spreads little above the body. Just like there is a fire is there, we feel the heat of the fire for a certain distance. Similarly, the heat and temperature warmth of the body is felt, can be felt even outside the body for a certain distance, for certain distance. This description comes in the fifth chapter of the Yoga Shikha Upanishad.

 

And that feeling and experience of the heat at different levels, feeling of the heat and warmth at different levels, different parts, different center of the body is the content of the fifth chapter of the Yoga Shikha Upanishad. And the last one is the Upanishad talks about the Sushumna Nadi and the final Kundalini energy, the final rise of the coiled energy, the compressed energy, and that unzipping our efforts, unzipping our spiritual, unzipping our unknown energy levels within ourselves. And that expression, manifestation of unknown energy, unfound energy, untapped energy within ourselves is the content of the sixth chapter. And of course, the Upanishad concludes by saying the entire world and my world and ourselves is nothing but an expression and manifestation of the mind. That is how the Upanishad concludes by saying for this knowledge, for this practice, Guru, a master, and a teacher is a must. And finally,

citte calati saṃsāro niścalaṃ mokṣa ucyate।

tasmāccittaṃ sthirīkuryātprajñayā parayā vidhe।।

 

cittaṃ kāraṇamarthānāṃ tasminsati jagattrayam।

tasminkṣīṇe jagatkṣīṇaṃ taccikitsyaṃ prayatnataḥ।।

 

The mind, when the chitta is moving, the world is there. The world means movement of the chitta. When the chitta stops, nishchalam, the world disappears. Appearance and existence of the world is because of the chitta chanchalyam and nishchala chittaha is the absence and disappearance of the entire world. That is how the Yoga Shikha Upanishad keeps hammering the point, the importance of quietening the mind, soothing the mind, and mano nigraha. And of course, it is the "cittaṃ kāraṇamarthānāṃ tasminsati jagattrayam". Beautifully the Upanishad puts it, is the chitta which is responsible for the existence of the Jagattrayam. The three Jagats - Jagrata, Swapna and Shushupti are there because the chitta is there, chitta is active. If the chitta becomes kshina, then the Jagat will be disappeared. That is how the Yoga Shikha Upanishad slowly and steadily raises a person's understanding and guides a person into the practice of the Yoga to its highest levels. That is the essence of the Yoga Shikha Upanishad. Aum Shanti Shanti Shanti:


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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

Saturday, 6 July 2024

Yogopanishads – Varaha Upanishad

Transcription of the lecture given by Mananeeya Sri Hanumantaraoji, All India Vice President of VRM & VK

Varahopanishad (varāhopaniṣad) is part of the Krishna Yajurveda, and it has five chapters. The first chapter contains seventeen mantras, the second one has eighty-three mantras, the third chapter has thirty, the fourth one has forty-four mantras, and the fifth chapter contains seventy-seven mantras. So in total, the entire Upanishad contains two hundred and fifty-one mantras distributed across the five chapters.

 

The first chapter opens with Ribhu Maharshi performing tapasya for twelve years and blessed with the presence of Sri Mahavishnu in the Varaha avatar. The Varaha avatar Mahavishnu appears to Ribhu Maharshi in Varaha murti, and then Ribhu Maharshi raises questions, asks questions, and Sri Mahavishnu in Varaha pose gives the answers, descriptions, explanations. This is the crux of the entire Upanishad's beginning. The first chapter contains the description of the importance of the entire body and the material world and explains the twenty-four tattvas, then the thirty-six tattvas, and then the sixty tattvas, making about a total of ninety tattvas.

 

So Chaturvimshati tattvani, Shattrimsha tattvani, and then the last one is the Shan-navati, that is ninety-six. The total comes to ninety-six tattvas. What are the twenty-four tattvas which constitute, which make the body or the materials? Beautifully, Sri Mahavishnu explains, the Upanishad puts it: the five jnanendriyas, the five karmendriyas, the pancha pranas, then the pancha tanmatras, and the mana, buddhi, ahankara, chitta. This is the twenty-four tattvas: the five jnanendriyas, the five karmendriyas, the five pranas (pancha pranas), and the pancha tanmatras (shabda, roopa, rasa, gandha, sparsha), and mana, buddhi, ahankara, chitta. This constitutes the twenty-four.

 

Then, in addition to this, the pancha bhutas (prithvi, apas, tejo, vayu, akashaha) and the three avasthas (jagrata, swapna, sushupti avasthas) and the sukshma, karana, and sthula shariras. All those put together will be thirty-six.

 

Then six varieties of existence after the person is born, the changes which happen, that is the jayate, vardhate, then the six urmis, then six sheaths, then the six enemies (shad ripus: kama, krodha, lobha, moha, mada, matsarya), then three gunas (sattva guna, rajo guna, tamo guna), then the three karmas (prarabdha karma, sanchita karma, agami karma), and then the five important dimensions of volition, decisions.

 

Then the importance of the four cardinal points: mudita, karuna, maitri, upeksha, which form the four: sankalpa, abhimana, adhyavasaya, avadharana. Putting all this together completes a list of ninety-six. The Varaha Upanishad, Sri Mahavishnu tells to Ribhu Maharishi, unless one is conversant and aware of all these ninety-six tattvas, their importance and activities, and their fueling force, it will be very difficult to understand the practices of yoga. So, this basic information and knowledge are needed for the practice of yoga.

 

Then the Upanishad explains, the second chapter describes the sadhana chatustayam: viveka, vairagya, samadhi shakta sampatti, and mumukshutva. Viveka is a discrimination between what is permanent and what is temporary, the temporal (shashvata and ashashvata), what is shashvatam in this world and what is ashashvatam in this world, what is temporary in nature and what is permanent in nature. That discrimination is called viveka, nitya anitya vastu viveka. Then vairagya, then the shama, dama, uparati, titiksha, shraddha, and samadhanaha. Then the mumukshutvam, a desire to be free. These four sadhana chatustayam are described in detail in the Varaha Upanishad. We also find the same description elaborately in the Viveka Chudamani by Adi Shankaracharya.

 

Then the second chapter also talks about the Atma, Anatma, Jivatma, and Paramatma. The temporariness of this world, the non-importance of this temporal world, the material world—what we feel, what we think is most important in this world, how they are not important. What we feel unknown, not experienced, the underflowing inner contents of ourselves, which we are not exposed to, are important: the Atma, Anatma, Jivatma, and Paramatma. Not knowing the Paramatma and not knowing the Shashvatatvam, and clinging on to these material, temporary things, which the Upanishad says is because of the agnana. Once this agnana is removed, when the jnana rises or when the jnana comes in, the agnana goes. Like when the sun rises, the darkness is gone; when the light is lit, the darkness is gone.

 

The Upanishad explains beautifully that this can be achieved by Nadanusandhana, the only method, the only path, the only technique, the only method which can make a person jnani or understand what is temporary and what is permanent. That delusion can be removed by the practice of Nadanusandhana. That Nadanusandhana practice with the chanting of the om: akara, ukara, makara, and feeling the stages of akara, stages of makara, stages of the ukara, then the stages of the ardhamatra. The Upanishad compares it with the jagrata, swapna, sushupti, turiya, and turiyatita levels. While chanting each syllable, each sound, when each shabda, the nada, is rising, the para level, pashyanti level, madhyama level, and the vaikari level are to be experienced are to be felt. Then the Nadanusandhana makes a person, takes a person, lifts a person, and stabilizes him in the Samadhi level.

 

In the entire 75 to 83, about 8 to 9 mantras of the second chapter describe it. The third chapter is completely a beautiful technique explained as bhakti, seeing everything as ishwara svarupam. The whole world is a manifestation, an expression, a symbol of ishwara, and the devotion, worshipping with that feeling, is bhakti. The entire third chapter of the Varaha Upanishad is completely dedicated to bhakti, and bhakti as a tool, and how this bhakti lifts a person and what is the cause for all the difficulties and problems.

 

The third chapter beautifully describes chitta as the karana for the janma and marana, for birth and death. It is the chitta which is the cause for the birth of any thought, for the birth of any sankalpa, for any decision, any idea, any emotion, for everything which is born. Chitta is the cause, and for everything which dies, eliminates, deletes, vanishes, it is the chitta which is responsible. So chitta niyantrana is an important dimension.

 

The example is given beautifully: the sun reflects in the water, and if the water is distracted and disturbed, we feel or we see, we experience the sun also disturbed. The image of the sun gets ruffled if the reflective medium, the water, gets ruffled. But we feel the sun's image is ruffled, and we say the sun is ruffled. This ajnana has to go. Whether the image is ruffled, whether the water is ruffled, but the source of the reflection, the source, the basic source which is reflecting the sun, never gets ruffled. This is how the third chapter is described. It further explains the importance of Nadanusandhana and bhakti.

 

Further, the Upanishad explains the fourth chapter. The fourth chapter has two portions: the Brahmana portion and the Mantra portion. The Brahmana and the Mantra portions explain beautifully about the sapta-jnana-bhumika, the seven stages of knowledge, the seven stages of the experience of knowledge, and the seven stages of the rising of consciousness. We find beautiful descriptions of the sapta bhumikas in the Yoga Vasistha also.

 

The sapta bhumikas are: Subheccha is the prathamaha, then vicharana is dvitiyaha, Tanumanasi is the third one (tritiya), Sattvapatti is the chaturthaha, Asamsaktihi is the panchamaha, Padarthabhavana is the shasthi, and Turiya is the saptama.

 

jñānabhūmiḥ śubhecchā syātprathamā samudīritā।

vicāraṇā dvitīyā tu tṛtīyā tanumānasā॥

 

sattvāpattiścaturthī syāttato'saṃsaktināmikā।

padārthabhāvanā ṣaṣṭhī saptamī turyagā smṛtā॥

 

That is how all the seven jnana bhumikas have been named and explained. What is Subheccha? A good decision, a good decision which provokes a person to be free from all attachments; that is a good iccha, Subheccha it is. Similarly, Vicharana is a thoughtfulness to change and alter our lifestyles. Tanumanasi means the bondages have to be reduced, reducing the attachments, slowing down the process of deep attachment. Tanumanasi: the mind is slowed down. Sattvapatti: enhancing the sattva guna. Asamsakti: developing a sense of displeasure. Padarthabhavana: feeling the real nature of anything which we see and come in touch with, the reality of every padartha, the reality of every material we come in contact with. The real matter is Padarthabhavana, and having a bhavana on that leads a person to Turiya sthithi. This is how all the sattva bhavikas have been explained.

 

Omkara makes a person realize, supports, and helps a person attain that state of Turiyasthithi. And this chanting of the Omkara japa, practicing of omkara japa: akara, ukara, makara, and ardhamatra; jagruta swapna, sushupti, turiya, and turiyatita levels. That is how Omkara is the mula mantra. It is the mula for the entire existence. The greatness and grandeur of Omkara japa, the greatness and grandeur of Omkara chanting, is explained beautifully in the fourth chapter and how it enhances a person's knowledge of the Atma, the knowledge of one's real Self, the knowledge of one's own real constituent substance, the knowledge of my real nature. By that, one can detach from the unreal, one can detach from the temporary nature, one can detach from clinging to things with which we continue to hop on.

 

The fifth chapter is a brilliant explanation of the entire body. In the Varaha Upanishad, Shri Maha Vishnu explains what is the svasa sankhya, what is the sankhya of the svasa, the number of breaths we take. The Varaha Upanishad, the fifth chapter, the third mantra gives a brilliant..

 

ṣaṭśatānyadhikānyatra sahasrāṇyekaviṃśatiḥ।

ahorātravahiḥ śvāsairvāyumaṇḍalaghātataḥ॥

 

This means 21,600 is the number of breaths which we take ahoratraha, in a day and night, which we may say 24 hours. In these 24 hours, our breath rate is 21,600 which is very simple and easy. There are 21,600 minutes in a day, 24 hours into 60 minutes. In these 21,600 breaths, when we take, it comes to around 15 breaths in a minute. So this 24 hours multiplied by 60 minutes and divided by 21,600 comes to about 15 breaths in a minute. So normally, a human being inhales and exhales 15 times in a minute.

 

How beautifully the Varaha Upanishad defines and measures it, and as all of us are aware, the modern science, the modern method of measuring the breath rate, confirms it. If we can reduce this breath rate from 15 to 10 to 5, that is the highest dimension of pranayama practice. The Varaha Upanishad explains beautifully that slowing down the breath speed, the number of breaths in ahoratraha, swasa sankhya reduction, is the path, is the method for the Tiryak level. For that, the Upanishad explains uddiyana bandha and mula bandha practice, practicing of mula bandha and uddiyana bandha and the jalandhara bandha. This practice as vihanga marga and pipilika marga, practicing slowly and practicing at a speed. If it is practiced slowly, the progress is faster. Practicing at the pipilika style, progress will be at the vihanga level. Vihanga is a bird; for a bird to go from one place to another, it can just fly. For a pipilaka, for an ant to move from one place to another place, the time taken by the pipilika, an ant, is longer. A bird can fly quickly, so practicing at a slow level enhances progress. It also means there are two ways of practice, two ways of progress in yoga. Various interpretations and understandings are possible and are there.

 

The Varaha Upanishad gives ashtanga yoga, and this ashtanga yoga in the vihanga marga and pipilika marga, and the ashtanga yoga of the Varaha Upanishad, fifth chapter, eleventh mantra to the twentieth mantra, tallies with the Patanjala Yoga Sutras' ashtanga yoga. Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana, Samdhi, is the same, is repeated. What is there in the Varaha Upanishad synchronizes with Patanjali's ashtanga yoga. Then the Upanishad explains each one brilliantly, and at the end, the Varaha Upanishad presents samputa yoga. Samputa yoga is practically practicing mula bandha and jalandhara bandha at the same time. By practicing mula bandha and jalandhara bandha, all the nadis, the fourteen nadis, are locked up, and then the entire prana pravaha gets directed towards the Sahasrara chakra, rising the energy from the muladhara. This samputa yoga, practicing mula bandha and jalandhara bandha, and holding the breath, kevala kumbhaka, this combination of three: mula bandha, jalandhara amanda, and kevala kumbhaka, is the samputa yoga. Samputa is the combination, the total samputi it is. That is how Varaha Upanishad concludes by saying this is the practice which gives the final result. It explains "viduṣo'pyāsuraścetsyānniṣphalaṃ". The final result comes as the Nishpatti bhumikaha, Nishpattihi, Turiyaha, Jivanmuktaha is the result and experience, and one gets established in the state of Samadhi.

 

So Varaha Upanishad presents samputa yoga and the practice of these three bandhas, bandhatrayaha. In the bandhatrayaha, prescribing the two, the mula and the jalandhara. Mula bandha is the lowest one, and jalandhara bandha is the top. Practicing both at a time and experiencing freedom from all jiva tattva, from all samsaraha, from all chitta chanchala, one gets an experience of jivanmukta bhavanam. That is how Varaha Upanishad emphasizes the importance of the practice of Nathanusandhana, the practice of pranayama, and the practice of samputa yoga and explaining that the entire essence of the yoga practice is Jivanmuktaha. And that level where we experience our real, true nature or ourself, freeing our feeling, freeing our attachment to what is not important, Ashshvatam. That is how the Varaha Upanishad presented the Sadhana Chatustayam, Sapta Bhumikas, and with these practices, Varaha Upanishad concludes it teaching, Sri Maha Vishnu teaching of this yoga to Ribhu Rishi. Let us conclude here. Aum Shanti Shanti Shanti:


--
कथा : विवेकानन्द केन्द्र { Katha : Vivekananda Kendra }
Vivekananda Rock Memorial & Vivekananda Kendra : http://www.vivekanandakendra.org
Read n Get Articles, Magazines, Books @ http://prakashan.vivekanandakendra.org

Let's work on "Swamiji's Vision - Eknathji's Mission"

Follow Vivekananda Kendra on   blog   twitter   g+   facebook   rss   delicious   youtube   Donate Online

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

Tuesday, 2 July 2024

Yogopanishads – Yogatattva Upanishad

Transcription of the lecture given by Mananeeya Sri Hanumantaraoji, All India Vice President of VRM & VK

Yoga Tattva Upanishad (yogatattvopaniṣad) belongs to the Krishna Yajur Veda and it has 142 mantras. The Upanishad opens with a question of Brahmadeva asking Shri Mahavishnu and Lord Vishnu replies to the questions of the Brahmadeva. The entire Upanishad is an elaboration of the answers given by Shri Mahavishnu. The Upanishad begins by saying the difference between Paramatma and Jivatma, the Saguna and the Nirgunas, what we are, how a human being is defective and what are the defects of the human being and if the defects have been removed, the same person becomes the Paramatma. So the Jivatma becomes Paramatma, the Jivatma transforms into Paramatma by removing the defects. And how the defects have to be removed? The Upanishad presents four yogas Mantra Yoga, Laya Yoga, Hatha Yoga and the Raja Yoga and explains each one. And while explaining the Upanishad goes in detail in the practice of Pranayama. What should be the posture, asana for the Pranayama and how it is to be practiced with matras, the counts the matras for inhalation, exhalation and the Kevalakumbhaka and what are the rules to be practiced for food and bath Anna and the Snana for the Pranayama practice to be very effective. Then the Upanishad gives a description of the famous Kevalakumbhaka and after describing the asana and the Pranayama to remove the defects of the Jivatma Omkara Dhyana has been introduced in the levels for the beginners and for the best, highest practitioners. Then there is a Parichayavastha, Ghatavastha, then the Dharana of the Panchabhutas, Panchadevas; then finally a Dhyana on the Saguna and the Nirguna Dhyana. Then the Upanishad talks about the higher practices like Mahamandha, Mahaveda, Kechari, Bandhadraya, Viparitakarni Vajroli, Amaroli. Finally the Upanishad explains the Yoga Tattva is to remove the cover of the body on the Atman, the light of the Atman. The Paramatma shines brightly if the cover, the Jivatma is removed or Jivatma Tattvam, Jivatma Bhavana if it is eliminated, what remains is the Paramatma. This is the essence of the Yoga Tattva Upanishad.

 

And that is how the Yoga Tattva Upanishad begins the Ashtanga Yoga Jignasaha. One has to understand the important practices of the Ashtanga Yoga

 

niṣkalaṃ nirmalaṃ śāntaṃ sarvātītaṃ nirāmayam।

tadeva jīvarūpeṇa puṇyapāpaphalairvṛtam॥

 

That is, the Paramatma Swarupam, the pure consciousness in all of us. In fact we are the Paramatman. What makes us the Jivatma what makes us to feel that we are not Paramatman but we are the Jivatman? That is the crux of the Upanishad. Sri Mahavishnu explains

 

kāmakrodhabhayaṃ cāpi mohalobhamado rajaḥ।

janma mṛtyuśca kārpaṇyaṃ śokastandrā kṣudhā tṛṣā।।

 

tṛṣṇā lajjā bhayaṃ duḥkhaṃ viṣādo harṣa eva ca।

ebhirdoṣairvinirmuktaḥ sa jīvaḥ kevalo mataḥ॥

 

These are the defects, qualities which make a Jivatma, a Jivatma, or we have to say our inability to recognize we as Paramatman and these are the inabilities or the defects: lust, anger, fear, delusion, greed, infatuation, passion, birth, nearness, sorrow, sloth, hunger, thirst covetousness, shame, trepidation, misery, depression, joy. All these qualities if they have been removed, purified then the Jivatma stands as the Paramatman. This is a beautiful suggestion that Yoga or Yoga Sadhana is not that something is made out of nothing or is to become something. It is to expose or experience what is the real already existed.

 

Then the Upanishad presents the methods of removing these defects from the Jivatma that is the four Yogas: Mantra Yoga, Laya Yoga, Hata Yoga and the Raja Yoga.

 

yogo hi bahudhā brahmanbhidyate vyavahārataḥ।

mantrayogo layaścaiva haṭho'sau rājayogataḥ॥

 

Then the Upanishad speaks about the beginning stages, the Arambha stages. Then the advanced stages Ghata stage, Parichaya stage and the last is the Nishpati the final stage. So these are the Avasthas, the stages in these practices. In Mantra Yoga we have all these stages Arambha, Ghata, Parichaya and Nishpati. Similarly in the Laya Yoga. Similarly in the Hata Yoga. Similarly in the Raja Yoga. So in each practice of the Yoga, the practitioner undergoes all these four stages. Even if we take Pranayama, Pratyahara, Dharana, Dhyana, Samadhi, even in Yama: Ahimsa, Satya, Asteya, Brahmacharya, Aparigraha, Niyama: Saucha, Santhosha, Tapa, Swadhyaya, Ishvara Pranidhana, in all these, in entire constituents and the sub-constituents of all the practices, these four Avasthas the four stages are there - Arambha, Ghata, Parichaya and the Nishpati levels.

 

Then it talks about the Mantra Yoga. What is Mantra Yoga? listening and uttering the Japa and listening and uttering a particular mantra. "Mananāt trāyatē iti mantrah" that which frees a person's mind that which cuts the bondages of the mind and that makes the mind free from all the bondages and that is Mantra, a specific sound arranged in a specific manner with a specific letters. Aksharas, Bijaksharas forming into a sound and these sounds and Aksharas and Bijaksharas forming into a sentence. So a sentence comprises of various alphabets, various sounds and these alphabets and the sounds arranged in a particular form that makes the mind gets elevated from its bondages. And that sentence, syllables, alphabets are the mantra. "Mananāt trāyatē iti mantrah". So there are eight syllable mantras, there are astakshari, panchakshari, saptakshari, shadakshari, ekadashakshari - so various mantras are there. Overall the best is the Pranava Mantra Upasana.

 

Then we come to the Laya Yoga. Laya Yoga is merging oneself into a state of higher level. It is a dissolution of the mind and this dissolution of the mind is to be practiced while walking, while standing, sleeping, eating, in all our activities. A constant feeling awareness and remembering of the Ishwara, one's mind merges in that and that is called as the Laya Yoga.

 

Then we have the practice of the Hatha Yoga. Yama, Niyama, Asana, Pranayama, Samyama, Pratyahara, Dharana, Dhyana and of course the Samadhi and the Upanishad describes the Yama, Niyamas and the various practices and the Yoga Tattva Upanishad gives 10 Yamas and 10 Niyamas. Some are very common, some are slightly different. And that is how after explaining the Yama Niyamas the Upanishad talks about the Asana and the Pranayama.

 

The practice of the Pranayama, how Pranayama is to be practiced, beautifully the Upanishad explains: it has to be practiced in Padmasana posture resorting into a place a lonely place a secluded place names it as the 'Mataha'.

 

prāṇāyāmaṃ tataḥ kuryātpadmāsanagataḥ svayam।

suśobhanaṃ maṭhaṃ kuryātsūkṣmadvāraṃ tu nirvraṇam॥

 

That is cut off from every external temptations and attractions and then then practicing the Pranayama inhalations and exhalations. And these inhalations and exhalations are to be practiced with a specific counting, matras.

 

jānu pradakṣiṇīkṛtya na drutaṃ na vilambitam।

aṅgulisphoṭanaṃ kuryātsā mātrā parigīyate।।

 

Yogatattva Upanishad specifies what is a matra. It defines what is matra. It gives a time scale of matra. When we say 2 matras, 10 matras, 5 matras, what is 1 matra? It gives the time taken by one. When we snap the fingers after circling, neither too quickly nor too slowly, the knee. That is called 1 matra. There is no confusion in this. Just move the palm round the knee and make a snap. That is the 1 matra. How much time it takes, that is 1 matra. We should all remember, it is not 1 second, 2 seconds, 3 seconds, 10 seconds, like that. A matra means, this is the 1 matra. Moving the palm just round the knee in a circle and snapping the fingers. This is 1 matra. Is it 2 seconds, is it 5 seconds, that does not matter. This is the matra. For some people it may take 2 seconds, some people it may take 5 seconds. So for them that is 1 matra. This is how the Yogatattva Upanishad defines. Then talks about the inhalation and exhalation timing. That is why when we practice pranayama, we should always remember, when we use matra definition as a time, for everybody it should be 2 seconds, 5 seconds, 10 seconds. We cannot standardize the inhalation, exhalation and kumbakas based on presently used seconds keeping a watch or a clock in front of us. The Upanishad specifies the matra, timing of the matra. So it means every sadhaka's time for the matra is different from every other sadhaka. So we cannot specify and fix inhalation should be 10 seconds, exhalation should be 20 seconds, kumbaka should be 25 seconds or 30 seconds, seeing a clock or a watch, that is not the timing. The timing is matra. And matra is that person's individual measurement. This is how the Upanishad beautifully explains.

 

tataḥ paraṃ yatheṣṭaṃ tu śaktaḥ syādvāyudhāraṇe।।

 

yatheṣṭadhāraṇādvāyoḥ sidhyetkevalakumbhakaḥ।

kevale kumbhake siddhe recapūravivarjite॥

 

na tasya durlabhaṃ kiṃcittriṣu lokeṣu vidyate।

prasvedo jāyate pūrvaṃ mardanaṃ tena kārayet॥

 

Kevala kumbhaka never specifies or in pranayama it never specifies one should hold the breath this much time. As per one's capacity. Inhale as per one's capacity. Exhale as per one's capacity. Hold the breath as per the capacity. It also never talks of inhalation increasing the time or increasing the exhalation. It always says slow down the process. Slowing down the process, that is an important dimension which we should all learn from the Yoga Tattva Upanishad.

 

Then what are the practices involved while practicing the pranayama practices? What are the food? What are the rules to be taken for the practice of the food? How much food one should take? And how much time one should spend? This kala parimiti has been described in the Yoga Tattva Upanishad and even the food timings have been mentioned in the matras.

 

And that is how after explaining the Kevala kumbhaka, the Yoga Tattva Upanishad speaks about the Omkaraha. And Omkar Dhyanaha also is given in the Arambha Avastha, Ghata Avastha i.e. the stages, the beginning stage, middle stage and the advanced stages. The beginning stage is the Arambha Avastha. That means practicing the Omkaraha chanting in a specific time. The highest pitch of the three Matras. That is the Arambha Avastha. And Ghata Avastha is feeling the inhalations and exhalations and chanting. Not producing the sound outside. And the advanced stage, the Parichaya Avastha is the state where it is only an awareness of Omkaraha and the breathing are felt. Only the awareness.

 

vāyunā saha cittaṃ ca praviśecca mahāpatham।

yasya cittaṃ svapavanaṃ suṣumnāṃ praviśediha॥

 

It is Chitta. It is a mental and psychological inhalations and exhalations. It is not that mentally we are inhaling and mentally we are exhaling. It is not that way. You are aware of the inhalations and exhalations without making any external rigorous effort of the inhalations and exhalations. This is the practice of the Parichaya Avastha.

 

Then after the Dharana and the Dhyana, the Upanishad gives a wonderful practice of the Saguna and the Nirguna Dhyana. Saguna Dhyana is the practice of the meditation on all the available things. It can be any object, any image, anything which is external. That is the practice of the Saguna Dhyana.

samabhyasettathā dhyānaṃ ghaṭikāṣaṣṭimeva ca।

vāyuṃ nirudhya cākāśe devatāmiṣṭadāmiti॥

 

saguṇaṃ dhyānametatsyādaṇimādiguṇapradam।

 

Upanishad puts it that 60 Ghatikas. If a person can hold the mind on one single object, one single thought, one single idea, when the mind is not wavering from any one particular thought, idea or feeling for 60 Ghatikas, say 60 seconds, it is a very good practice, the Upanishad puts it. If the same is done, if the same is achieved without any external object or the image and even without creating, without imagining, without bringing any object and idea within the mind, but holding the mind absolutely on one single awareness, without any Rupa and Nama, Nama rahita, Rupa rahita, state of the mind for 60 Ghatikas, that is the Nirgunaha.

 

And how does Saguna to Nirguna level one can progress? The Yoga Tattva Upanishad prescribes higher practices like Mahabandaha, Mahaveda, Kechari, Bandhatraya and first time Yoga Tattva Upanishad brings in the Viparita Karani, Vajroli and the Amaroli practices from the 112 mantra to the next 30 mantras, that is up to 142, this description of the entire Mahabandha, Mahavedha, Kechari, Bandhatraya. As you all know, these are all the practices combined with inhalation Kumbhaka, exhalation Kumbhaka, Antara Kumbhaka or Bahya Kumbhaka and ultimately it is the Kevala Kumbhaka coupled with the Bandhas. Mabavanda, Mahaveda, Kechari, Bandhatraya and even in the Viparita Karani, Vajroli practices and this is how Yoga Tattva Upanishad finally explains Pranava Upasana has to be done in the Hridayam, in the heart and that is how establishing and feeling the practice of the Omkara, experiencing the Omkara vibrations without chanting but only feeling at the root level, that is the Pranava Upasana, the Upanishad puts it. That is how the Upanishad in each practices, the Yoga Tattva Upanishad specifies rules, for example, for a practitioner for the Viparita Karani, how Viparita Karani has to be practiced:

 

nityamabhyāsayuktasya jāṭharāgnivivardhanī।

āhāro bahulastasya saṃpādyaḥ sādhakasya ca॥

 alpāhāro yadi bhavedagnirdehaṃ haretkṣaṇāt।

 

If you take very little food or no food, then start practicing Viparita Karani, it says it will burn the body, body becomes a shishtaha. And that is how Viparita Karani should not be practiced with taking less food or no food, it doesn't mean one has to take more food, Yuktahara Viharasya has been suggested. That is how Viparita Karani practice is an important practice which enhances Jataragni of the practitioner, Viparita Karani, it is just reversing our posture, the head is down, legs are up. And in that posture practicing a specific breathing method and that is the importance of the Viparita Karani and Yoga Tattva Upanishad concludes itself by explaining Atma Sakshatkaraha and that is how "kūrmaḥ svapāṇipādādiśiraścātmani dhārayet॥" Just like a tortoise withdraws everything of that which is projected from it to the outside, the same tortoise withdraws it, collects it that was pushed out towards inside. Similarly a yoga sadhaka must and should withdraw, bring back all his external projections, then the light within enlightens, this is the Yoga Tattva Upanishad. Let us conclude here. Aum Shanti Shanti Shanti:


--
कथा : विवेकानन्द केन्द्र { Katha : Vivekananda Kendra }
Vivekananda Rock Memorial & Vivekananda Kendra : http://www.vivekanandakendra.org
Read n Get Articles, Magazines, Books @ http://prakashan.vivekanandakendra.org

Let's work on "Swamiji's Vision - Eknathji's Mission"

Follow Vivekananda Kendra on   blog   twitter   g+   facebook   rss   delicious   youtube   Donate Online

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