LITMIR.BIZ

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stated to be in the eight-petalled lotus below Anāhata{20} (§ 7) where the Ishtadevatā is worshipped. There are eight petals, with which are associated certain Vrittis. With the Eastern petal is associated virtuous inclination (Punye mati); with the South-Eastern, sleep (Nidrā) and laziness (Ālasya); with the Southern, badness or cruelty (Krūra mati); with the South-Western, sinful inclination (Pāpe manīshā); with the Western, various inferior or bad qualities (Krīdā); with the North-Western, intention in movement or action (Gamanādau buddhi); with the Northern, attachment and pleasurable contentment (Rati and Prīti); and with the North-Eastern petal, manual appropriation of things (Dravyagrahana).{21} In the center of this lotus is dispassion (Vairāgya). In the filaments is the waking state (Jāgrad-avasthā); in the pericarp the sleeping state (Svapna); in the stalk the state of dreamless slumber (Sushupti). Above the lotus is “the place without support” (Nirālamba pradesha), which is the Turīya state. The Commentator Nārāyana says that the Vritti of the petals are given in the Adhyātmaviveka which assigns them to the various lotuses. In the passage cited from the Hangsopanishad, they, or a number of these, appear to be collected in the center of meditation upon the Ishtadevatā. In § 9 ten kinds of sound (Nāda) are mentioned which have definite physical effects, such as perspiration, shaking, and the like, and by the practice of the tenth kind of Nāda the Brahmapada is said to be attained.

      The Brahma Upanishad{22} mentions in v. 2 the navel (Nābhi), heart (Hridayam), throat (Kantham), and head (Mūrdhā), as places (Sthāna) “where the four quarters of the Brahman shine.” The Commentator Nārāyana says that the Brahmopanishad, by the mention of these four, indicates that they are the centers from which the Brahman may (according to the method there prescribed) be attained.{23} Reference is made to the lotuses at these four places, and the mind is spoken of as the “tenth door,” the other nine apertures being the eyes, ears, nostrils, and so forth.

      The Dhyānabindu Upanishad{24} refers to the hearing of the Anāhata sounds by the Yogī (v. 3). The Upanishad directs that with Pūraka meditation should be done in the navel on the Great Powerful One (Mahāvīra) with four arms and of the color of the hemp flower (i.e., Vishnu); with Kumbhaka meditate in the heart on the red Brahmā seated on a lotus; and with Rechaka think of the three-eyed one (Rudra) in the forehead. The lowest of these lotuses has eight petals; the second has its head downwards; and the third, which is compounded of all the Devatās (Sarvadevamaya), is like a plantain flower (vv. 9-12). In v. 13, meditation is directed on a hundred lotuses with a hundred petals each, and then on Sun, Moon, and Fire. It is Ātmā which rouses the lotus, and, taking the Bīja from it, goes to Moon, Fire, and Sun.

      The Amritanāda Upanishad{25} refers to the five elements, and above them Arddhamātrā—that is, Ājnā (vv. 30, 31). The elements here are those in the Chakras, for v. 26 speaks of the heart entrance as the aerial entrance (for the Vāyu Tattva is here). Above this, it is said, is the gate of liberation (Mokshadvāra). It is stated in v. 25 that Prāna and Manas go along the way the Yogī sees (Pashyati), which the Commentator says refers to the way Prāna enters (and departs from) Mūlādhāra, and so forth. He also gives some Hatha processes.

      The Kshurikā Upanishad{26} speaks of the 72,000 Nādis, of Idā and Pingalā, and Sushumnā (vv. 14, 15). All these, with the exception of Sushumnā, can “be severed by Dhyāna Yoga” (ib.). Verse 8 directs the Sādhaka “to get into the white and very subtle Nāda (Quære Nādī) and to drive Prāna Vāyu through it”; and Pūraka, Rechaka, Kumbhaka, and Hatha processes are referred to. The Commentator Nārāyana, on v. 8, remarks that Kundalī should be heated by the internal fire and then placed inside the Brahmanādī, for which purpose the Jālandhara Bandha should be employed.

      The Nrisinghapūrvvatāpanīya Upanishad{27} in Ch. V., v. 2, speaks of the Sudarshana (which is apparently here the Mūlādhāra) changing into lotuses of six, eight, twelve, sixteen, and thirty-two petals respectively. This corresponds with the number of petals as given in this work except as to the second. For, taking this to be the Svādhishthāna, the second lotus should be one of ten petals. Apparently this divergence is due to the fact that this is the number of letters in the Mantra assigned to this lotus. For in the six-petalled lotus is the six-lettered Mantra of Sudarshana; in the eight-petalled lotus the eight-lettered Mantra of Nārāyana; and in the twelve-petalled lotus the twelve-lettered Mantra of Vāsudeva. As is the case ordinarily, in the sixteen-petalled lotus are the sixteen Kalās (here vowels) sounded with Bindu or Anusvāra. The thirty-two-petalled lotus (Ājnā) is really two-petalled because there are two Mantras here (each of sixteen letters) of Nrisingha and His Shakti.

      The sixth chapter of the Maitrî Upanishad{28} speaks of the Nādīs; and in particular of the Sushumnā; the piercing of the Mandalas Sun, Moon, and Fire (each of these being within the other, Sattva in Fire, and in Sattva Achyuta); and of Amanā, which is another name for Unmanī.

      Both the Yogatattva Upanishad{29} and Yogashikhā Upanishad{30} refer to Hathayoga, and the latter speaks of the closing of the “inner door,” the opening of the gateway of Sushumnā (that is, by Kundalī entering the Brahmadvāra), and the piercing of the Sun. The Rāmatāpanī Upanishad{31} refers to various Yoga and Tantrik processes, such as Āsana, Dvārapūjā, Pīthapūjā, and expressly mentions Bhūtashuddhi, which, as above explained, is the purification of the elements in the Chakras, either as an imaginative, or real process by the aid of Kundalinī.

      I have already cited in the Notes numerous passages on this Yoga from the Shāndilya Upanishad of the Atharvaveda, the Varāha and Yogakundalī Upanishads of the Krishna Yajurveda, the Mandalabrāhmana Upanishad of the Shukla Yajurveda, and the Nādabindu Upanishad of the Rigveda.{32}

      The great Devībhāgavata Purāna (VII. 35, XI. 8) mentions in a full account the six Chakras or Lotuses; the rousing of Kundalī (who is called the Paradevatā) in the Mūlādhāra by the manner here described, uniting Jīva therewith by the Hangsa Mantra; Bhūtashuddhi; the dissolution of the gross Tattvas into the subtle Tattvas, ending with Mahat in Prakriti, Māyā in Ātmā. The Dharāmandala is mentioned, and it and the other Mandalas are described in the manner here stated. The Bījas of Prithivī and other Tattvas are given. Allusion is also made to the destruction of the “man of sin” (Pāpapurusha), in terms similar to those to be found in the Mahānirvāna and other Tantras. A remarkable Dhyāna of Prānashakti is to be found in this chapter, which reads very much like another which is given in the Prapanchasāra Tantra.{33}

      Lingga Purāna, Part I., Ch. LXXV., mentions the Chakras with their different petals, the names of which are given by the Commentator. Shiva is Nirguna, it says, but for the benefit of men He resides in the body with Umā, and Yogīs meditate upon Him in the different lotuses.

      Chapter XXIII. of the Agni Purāna, which is replete with Tantrik rituals, magic, and Mantras, also refers to the Bhūtashuddhi rite wherein, after meditation with the respective Bīja Mantras on the navel, heart, and Ājnā centers, the body of the Sādhaka is refreshed by the flow of nectar.

      Finally, an adverse critic of this Yoga whom I cite later invokes the authority of the great Shangkara, though in fact, if tradition be correct, it is against him. Shangkara, in whose Maths may be found the great Tantrik Yantra called the Shrīchakra, says in his Commentary on vv. 9 and 10 of Ch. VIII. of the Bhagavadgīta: “First the heart lotus (Anāhata) is brought under control. Then, by conquering Bhūmi (Mūlādhāra, etc.) and by the upward going Nādī (Sushumnā), after having placed Prāna between the two eyebrows (see v. 38, Shatchakranirūpana), the Yogī reaches the lustrous light-giving Purusha.” On this the Tīkā of Ānandagiri runs: “By the Sushumnā Nādī between Idā and Pinggalā. The throat is reached by the same way—the space between the eyebrows. By conquering earth (Bhūmi) is meant the process by which the five Bhūtas are controlled.” Shrīdhara Svāmī says: “By the power of Yoga (Yogabala) Prāna must be led along the Sushumnā.” And Madhusūdana Sarasvatī says: “The upward-going Nādī is Sushumnā, and the conquest of Bhūmi and the rest is done by following the path indicated by the Guru; and by the space between the eyebrows is meant the Ājnā chakra. By placing Prāna there, it passes out by the Brahmarandhra, and the Jīva becomes one with the Purusha.” The famous hymn called Ānandalahari (“Wave of Bliss”), which is universally ascribed to Shangkara, deals with this Yoga (Shatchakrabheda); and in the thirteenth

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