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THE HUMAN BODY
The human body is Brahma-pura, the city of Brahman. Isvara Himself enters into the universe as jiva. Wherefore the maha-vakya " That thou art" means that the ego (which is regarded as jiva only from the standpoint of an upadhi)1 is Brahman.
THE FIVE SHEATHS
In the body there are five kosas or sheaths—anna-may a, prana-maya, mano-maya, vijnāna-maya, ananda-maya, or the physical and vital bodies, the two mental bodies, and the body of bliss.2 In the first the Lord is self-conscious as being dark or fair, short or tall, old or youthful. In the vital body He feels alive, hungry, and thirsty. In the mental bodies He thinks and understands. And in the body of bliss He resides in happiness. Thus garmented with the five garments, the Lord, though all-pervading, appears as though He were limited by them.3
1. An apparently conditioning limitation of the Absolute. 2. According to "Theosophic" teaching, the first two sheaths are apparently the physical body in its dense (Anna-Maya) and etheric (Prana-maya) forms. Mano-maya represents the astral (Kama) and lower mental body ; Vijnāna-maya the higher mental or (theosophical) causal body, and the highest the Atmik body. 3. Manasollasa of SuresvarScSrya, Commentary on third gloka of the Daksina-murti-stotra. ANNA-MAYA KOSA
In the material body, which is called the " sheath of food " (anna-maya kosa), reign the elements earth, water, and fire, which are those presiding in the lower Cakras, the Muladhara, Svadhisthana and Mani-pura centres. The two former produce food and drink, which is assimilated by the fire of digestion, and converted into the body of food. The indriyas are both the faculty and organs of sense. There are in this body the material organs, as distinguished from the faculty of sense.
In the gross body (sarlra-kosa) there are six external kosas—viz., hair, blood, flesh,1 which come from the mother, and bone, muscle, marrow, from the father.
The organs of sense (indriya) are of two kinds— viz.: jnanendriyas or organs of sensation, through which knowledge of the external world is obtained (ear, skin, eyes, tongue, nose); and karmendriya or organs of action, mouth, arms, legs, anus, penis, the functions of which are speech, holding, walking, excretion, and procreation.
PRANA-MAYA KOSA
The second sheath is the prana-maya-kosa, or sheath of "breath" (prana), which manifests itself in air and ether, the presiding elements in the Anahata and Visuddha-cakras. There are ten vayus (airs) or inner vital forces of which the first five3 are the principal—namely, the
1. The Prapanca-Sara (chap, ii) gives gukla (semen) instead of marhsa (flesh). 2. See Sarada-tllaka. The Minor vayus are naga, Kūrmā, krkara, deva-datta, dhanarhjaya, producing hiccup, closing and opening eyes, assistance to digestion, yawning, and distension, " which leaves not even the corpse." sapphire prana; apana the colour of an evening cloud; the silver vyana; udana, the colour of fire; and the milky samana. These are all aspects of the action of the one Prana-Devatā. Kundalini is the Mother of prana, which She, the Mula-PrakrtI, illumined by the light of the Supreme Ātma generates. Prana is vayu, or the universal force of activity, divided on entering each individual into five-fold function. Specifically considered, prana is inspiration, which with expiration is from and to a distance of eight and twelve inches respectively. Udana is the ascending vayu. Apana is the downward vayu, expelling wind, excrement, urine, and semen. The samana, or collective vayu, kindles the bodily fire, " conducting equally the food, etc, throughout the body." Vyana is the separate vayu, effecting division and diffusion. These forces cause respiration, excretion, digestion, circulation.
MANO-MAYA, VIJNĀNA AND ANANDA-MAYA KOSAS
The next two sheaths are the mano-maya and vijnāna kosas. These coustitute the antah-karana, which is four-fold—namely, the mind in its two-fold aspect of buddhi and manas, self-hood (ahamkara), and citta.1 The function of the first is doubt, sarhkalpa-vikalpātmaka, (uncertainty, certainty); of the second, determination (niscaya-karini); of the third (egoity), of the fourth consciousness (abhimana). Manas automatically registers the facts which the senses perceive. Buddhi, on attending to such registration, discriminates, determines, and cognizes the object registered, which is set over and against the
1. According to Samkhya, citta is included in buddhi. The above is the Vedantic classification. subjective self by Ahamkara. The function of citta is contemplation (cinta), the faculty1 whereby the mind in its widest sense raises for itself the subject of its thought and dwells thereon. For whilst buddhi has but three moments in which it is born, exists, and dies, citta endures. The antah-karana is master of the ten senses, which are the outer doors through which it looks forth upon the external world. The faculties, as opposed to the organs or instruments of sense, reside here. The centres of the powers inherent in the last two sheaths are in the Ajna Cakra and the region above this and below the sahasrara lotus. In the latter the Ātma of the last sheath of bliss resides. The physical or gross body is called sttoula-sarira. The subtle body (suksmasarira also called linga sarira and karana-sarira) comprises the ten indriyas, manas, ahamkara, buddhi, and the five functions of prana. This subtle body contains in itself the cause of rebirth into the gross body when the period of reincarnation arrives. The ātma, by its association with the upadhis, has three states of consciousness—namely, the jagrat, or waking state, when through the sense organs are perceived objects of sense through the operation of manas and buddhi. It is explained in the Isvara-pratya-bhijna as follows—" the waking state dear to all is the source of external action through the activity of the senses." Thejiva is called jagari—that is, he who takes upon himself the gross body called Visva. The second is svapna, the dream state, when the sense
1. The most important from the point of view of worship on account of mantra-smarana, Devatā-smarana, etc.
organs being withdrawn, Ātmā is conscious of mental images generated by the impressions of jagrat experience. Here manas ceases to record fresh sense impressions, and it and buddhi work on that which manas has registered in the waking state. The explanation of this state is also given in the work last cited. " The state of svapna is the objectification of visions perceived in the mind, due to the perception of ideas there latent. " Jiva in the state of svapna is termed taijasa. Its individuality is merged in the subtle body. Hiranya-garbha is the collective form of these jivas, as Vaisvānara is such form of the jiva in the waking state. The third state is that of susupti, or dreamless sleep, when manas itself is withdrawn, and buddhi, dominated by tamas, preserves only the notion : " Happily I slept ; I was not conscious of anything " (Pātanjala-yoga-sûtra). In the macrocosm the upadhi of these states are also called Virāt, Hiranyagarbha, and Avyakta. The description of the state of sleep is given in the S'iva-sûtra as that in which there is incapacity of discrimination or illusion. By the saying cited from the Pātanjala-sûtra three modifications of avidyā are indicated—viz., ignorance, egoism, and happiness. Sound sleep is that in which these three exist. The person in that state is termed prajna, his individuality being merged in the causal body (karana). Since in the sleeping state the prajna becomes Brahman, he is no longer jiva as before ; but the jiva is then not the supreme one (Paramātmā), because the state is associated with avidyā. Hence, because the vehicle in the jiva in the sleeping state is Karana, the vehicle of the jiva in the fourth is declared to be mahā-kārana. Isvara is the collective form of the prājna jiva. Beyond susupti is the turiya, and beyond turiya the transcendent fifth state without name. In the fourth state suddha-vidya is required, and this is the only realistic one for the yogi which he attains through samadhi-yoga. Jiva in turiya is merged in the great causal body (maha-karana). The fifth state arises from firmness in the fourth. He who is in this state becomes equal to S'iva, or, more strictly tends to a close equality; for it is only beyond that, that " the spotless one attains the highest equality," which is unity. Hence even in the fourth and fifth states there is an absence of full perfection which constitutes the Supreme. Bhaskararaya, in his Commentary on the Lalita, when pointing out that the Tantrik theory adds the fourth and fifth states to the first three adopted by the followers of the Upanisads, says that the latter states are not separately enumerated by them owing to the absence in those two states of the full perfection of Jiva or of S'iva.
NĀDĪ
It is said1 that there are 3| crores of nādīs in the human body, of which some are gross and some are subtle. Nādī means a nerve or artery in the ordinary sense ; but all the nādīs of which the books on Yoga2 speak are not of this physical character, but are subtle channels of energy. Of these nādīs, the principal are fourteen; and of these fourteen, ida, píngala and susumna are the chief; and again, of these three, susumna is the greatest, and to it all others are subordinate. Susumna is in the hollow of the meru
1. Nādī-vijnāna (chap, i, verses 4 and 5). 2. Sat-cakra-nirOpana (commentary on verse 1), quoting from Bhüta suddhi-Tantra, speaks of 72000 nādīs (see also Nlruttara-Tantra, Prana-tosml, p. 35), and the S'iva-samhitS (2, 13) of three lacs and 50,000. in the cerebro-spinal axis.1 It extends from the Muladhara lotus, the Tattvik earth centre,2 to the cerebral region. Susumna is in the form of Fire (vahni-svarupa), and has within it the vajrini-nādī in the form of the sun (surya-svarupa). Within the latter is the pale nectar-dropping citra or citrinl nādī, which is also called Brahma-nādī, in the form of the moon (candra-svarupa). Susumna is thus triguna. The various lotuses in the different Gakras of the body (vide post) are all suspended from the citra-nādī, the cakras being described as knots in the nādī, which is as thin as the thousandth part of a hair. Outside the meru and on each side of susumna are the nādīs ida and pingala. Ida is on the left side, and coiling round susumna, has its exit in the left nostril. Pingala is on the right, and similarly coiling, enters the right nostril. The susumna, interlacing ida and pingala and the ajnS-cakra round which they pass, thus form a representation of the caduceus of Mercury. Ida is of a pale colour, is moon-like (candra-svarupa), and contains nectar. Pingala is red, and is sun-like (surya-svarupa), containing "venom," the fluid of mortality. These three " rivers," which are united at the ajna-cakra, flow separately from that point, and for this reason the ajna-cakra is called mukta triveni. The muladhara is called Yukta (united) triveni, since it is the meeting-place of the three nādīs which are also called Ganga (Ida), Yamuna (Pingala), and Sarasvati
1. It has been thought, on the authority of the Tantra-cutja-mani, that susumna is outside meru; but this is not so, as the Author of the Sat-cakra-nirupana points out (verse 2). Ida and Pingala are outside the meru; the quoted passage in Nigama-tattva-s3ra referring to susumna, vajrS and citrinl, 2. The Tattvas of " earth," " water," *' fire," " air," and "ether," are not to be identified with the so-called popular " elements " of those names. (susumna), after the three sacred rivers of India. The opening at the end of the susumna in the mula-dhara is called brahma-dvara, which is closed by the coils of the sleeping Devi Kundalini.
CAKRAS
There are six cakras, or dynamic Tattvik centres, in the body—viz., the muladhara, svadhisthana, mani-pura, anahata, visuddha, and ajna—which are described in the following notes. Over all these is the thousand-petalled lotus (sahasrara-padma).
MULADHARA
Muladhara1 is a triangular space in the midmost portion of the body, with the apex turned downwards like a young girl's yoni. It is described as a red lotus of four petals, situate between the base of the sexual organ and the anus. " Earth " evolved from " water " is the Tattva of the cakra. On the four petals are the four golden varnas—" vahi ",' " sam ", " sam " and "sam".2 In the four petals pointed towards the four directions (Isana, etc.) are the four forms of bliss— yogananda (yoga bliss), paRāmananda (supreme bliss), sahajananda (natural bliss), and virananda (vira bliss). In the centre of this lotus is Svayambhu-linga, ruddy brown, like the colour of a young leaf. Gitrini-nādī is figured as a tube, and the opening at its end at the base of the linga is called the door of Brahman
1. Mala, the root; adhara, support; for the mQladhara is the root of Susumna and that on which Kundalini rests. 2. It need hardly be said that it is not supposed that there are any actual lotuses or letters engraved thereon. These and other terms are employed to represent realities of yoga experience. Thus the lotus is a plexus cf nSdis, the disposition of the latter at the particular cakra in question determining the number of the petals. (Brahma-dvara), through which the Devi ascends.1 The lotus, linga and brahma-dvara, hang downwards. The Devi Kundalinl, more subtle than the fibre of the lotus, and luminous as lightning, lies asleep coiled like a serpent around the linga, and closes with Her body the door of Brahman. The Devi has forms in the brahmSnda. Her subtlest form in the pindanda, or body, is called Kundalini, a form of Prakrti pervading, supporting, and expressed in the form of the whole universe; " the Glittering Dancer " (as the Saradatilaka calls Her) " in the lotus-like head of the yogi." When awakened, it is She who gives birth to the world made of mantra.2 A red fiery triangle surrounds svayambhu-linga, and within the triangle is the red Kandarpa-vayu, or air, of Kama, or form of the apana vayu, for here is the seat of creative desire. Outside the triangle is a yellow square, called the prthivi-(earth) mandala, to which is attached the " eight thunders " (asta-vajra). Here is the bija " larh " and with it prthivi on the back of an elephant. Here also are Brahma and Savitri,3 and the red four-handed Sakti Dakinl.4
SVADHISTHANA
Svadhisthana is a six-petalled lotus at the base of the sexual organ, above muladhara and below the navel. Its pericarp is red, and its petals are like
1. Hence She is called in the Lllita-sahasra-n3ma (verse 106) Mula- 2. See Prana-tosinl, p. 45. 3. The Devi is Savitri as wife of the Creator, who is called Savita because He creates beings. 4. Who, according to the Sammohana-Tantra (chap, ii), acts as keeper of the door. lightning. " Water" evolved from " fire" is the Tattva of this cakra. The varnas on the petals are "bam", "bham "mam", "yam", "ram", and "lam". In the six petals are also the vrttis (states, qualities, functions or inclinations)—namely, prasraya (credulity) a-visvasa (suspicion, mistrust), avajna (disdain), murchcha (delusion, or, as some say, disinclination), sarva-nasa (false knowledge),1 and krurata (pitiless-ness). Within a semicircular space in the pericarp are the Devatā, the dark blue MahaVişņu, Mahalaksmi, and Saraswati. In front is the blue four-handed Rakini S'akti, and the bija of Varuna, Lord of water or " vam". Inside the bija there is the region of Varuna, of the shape of an half-moon, and in it is Varuna himself seated on a white alligator (makara).
MANI-PURA
Mani-pura-cakra2 is a ten-petalled golden lotus, situate above the last in the region of the navel. 'Tire" evolved from " air " is the Tattva of the cakra. The ten petals are of the colours of a cloud, and on them are the blue varnas—"dam", "dham", "nam", "tarn", "tham", "dam", "dham", "nam", "pam", "pham"— and the ten vrttis (vide ante), namely, lajja (shame), pisunata (fickleness), irsa (jealousy), trsna (desire), susupti (laziness),3 visada (sadness),kasaya (dullness), moha (ignorance), ghrna (aversion, disgust), bhaya
1. Lit. " destruction of everything," which false knowledge leads to. 2. So-called, it is said by some, because during samaya worship the Devi is (Pura) with gems (manl) : see Bhaskara-raya's Commentary on Lalita-sahasra-nama, verses 37 and 38. By others it is so called because (due to the presence of fire) it is like a gem. 3. Deeply so, with complete disinclination to action: absence of all energy. (fear). Within the pericarp is the blja "ram", and a triangular figure (mandala) of Agni, Lord of Fire, to each side of which figure are attached three auspicious signs or svastikas. Agni, red, four-handed, and seated on a ram, is within the figure. In front of him are Rudra and his Sakti Bhadra-kali. Rudra is of the colour of vermilion, and is old. His body is smeared with ashes. He has three eyes and two hands. With one of these he makes the sign which grants boons and blessings, and with the other that which dispels fear. Near him is the four-armed Lakini-S'akti of the colour of molten gold (tapta-kancana), wearing yellow raiments and ornaments. Her mind is maddened with passion (mada-matta-citta). Above the lotus is the abode and region of S'urya. The solar region drinks the nectar which drops from the region of the Moon.
ANAHATA
Anahata-cakra is a deep red lotus of twelve petals, situate above the last and in the region of the heart, which is to be distinguished from the heart-lotus facing upwards of eight petals, spoken of in the text, where the patron deity (Ista-Devatā) is meditated upon. "Air" evolved from "ether" is the Tattva of the former lotus. On the twelve petals are the vermilion varnas—"Kara", "Kham", "Gam", ''Gham", "ngam", "cam", "Cham", "Jam", "Jham", "jiiam", "Tam", "Tham" and the twelve vrttis (vide ante—namely, asa (hope), cinta (care, anxiety), cesta (endeavour), mamata (sense of mineness),1 dambha (arrogance or hypocrisy) vikalata (langour), ahamkara
1. Resulting in attachment. (conceit), viveka (discrimination), lolata (covetousness), kapatata (duplicity), vitarka (indecision), anutapa (regret). A triangular mandala within the pericarp of this lotus of the lustre of lightning .is known as the Tri-kona S'akti. Within this mandala is a red bana-linga, called Narayana or Hiranyagarbha, and near it Isvara and his S'akti Bhuvanesvari. Isvara, who is the Overlord of the first three cakras is of the colour of molten gold, and with His two hands grants blessings and dispels fear. Near him is the three-eyed Kakini-S'akti, lustrous as lightning, with four hands holding the noose and drinking-cup, and making the sign of blessing, and that which dispels fear. She wears a garland of human bones. She is excited, and her heart is softened with wine. Here, also, are several other S'aktis, such as Kala-ratri, as also the bija of air (vayu) or "yam". Inside the lotus is a six-cornered smoke-coloured mandala and the circular region of smoke-coloured Vayu, who is seated on a black antelope. Here, too, is the embodied ātma (jivātma), like the tapering flame of a lamp.
VIS'UDDHA
Visuddha-cakra or Bharatisthana, abode of the Devi of speech, is above the last and at the lower end of the throat (kantha-mula). The Tattva of this cakra is "ether". The lotus is of a smoky colour, or the colour of fire seen through smoke. It has sixteen petals, which carry the red vowels —"am", "am", "im", "im", "urn", "urn", "rm", "rm", "lm", "lm", "em", "aim", "om", "aum", am", "ah"; the seven musical notes (nisada, rsabha, gandhara, sadja, madhyama, dhaivata and pancama): "venom" (in the eighth petal); the bijas "hum", "phat", "vausat", " vasat" svadha " svaha " namah ", and in the sixteenth petal, nectar (amrta). In the pericarp is a triangular region, within which is the androgyne S'iva, known as Ardhanarisvara. There also are the regions of the full moon and ether, with its bija " ham ". The akasa-mandala is transparent and round in shape. Akasa himself is here dressed in white, and mounted on a white elephant. He has four hands, which hold the noose1 (pasa), the elephant-hook2 (ankusa), and with the other he makes the mudras which grant blessing and dispel fear. S'iva is white, with five faces, three eyes, ten arms, and is dressed in tiger skins. Near Him is the white Sakti S'akini, dressed in yellow raiments, holding in Her four hands the bow, the arrow, the noose, and the hook.
Above the cakra, at the root of the palate (talu-mula) is a concealed cakra, called Lalana and, in some Tantras, Kala-cakra. It is a red lotus with twelve petals, bearing the following vrttis:—sraddha (faith), santosha (contentment), aparadha (sense of error), dama (self-command), mana8 (anger), sneha (affection),4 soka (sorrow, grief), kheda (dejection), suddhata (purity), arati (detachment), sambhRāma (agitation),6 Urmi (appetite, desire).
1. The Devi herself holds the noose of desire. Desire is the vSsanS form and the noose is the gross form (see next note). 2. The VamakeSvara-Tantra says: " The noose and the elephant-hook of Her are spoken of as desire and anger. But the Yogini-hrdaya i. 53 says : " The noose is ichchadakti, the goad jnāna-Sakti, and the bow and arrows kriya-gakti, " 3. Generally applied to the case of anger between two persons who are attached to one another, as in the case of man and wife. 4. Towards those younger or lower than oneself. 5. Through respect. AJNA
AjM-cakra is also called paRāma-kula and mukta-tri-veni, since it is from here that the three nādīs— Ida, Pingala and Susumna—go their separate ways. It is a two petalled lotus, situate between the two eyebrows. In this cakra there is no gross Tattva, but the subtle Tattva mind is here. Hakarardha, or half the letter Ha, is also there. On its petals are the red varnas " ham " and " ksam
In the pericarp is concealed the bija " om ". In the two petals and the pericarp there are the three gunas — sattva, rajas and tamas. Within the triangular mandala in the pericarp there is the lustrous (tejo-maya) linga in the form of the pranava (pranavakrti), which is called Itara. Para-S'iva in the form of hamsa (hamsa-rupa) is also there with his S'akti—Siddha-Kali. In the three corners of the triangle are Brahma, Vişņu, and Mahesvara, respectively. In this cakra there is the white Hakini-S'akti, with six heads and four hands, in which are jfiana-mudra,1 a skull, a drum (damaru), and a rosary.
SAHASRARA PADMA
Above the ajna-cakra there is another secret cakra called manas-cakra. It is a lotus of six petals, on which are sabda-jfiana, sparsa-jiiana, rupa-jnāna, aghranopalabhi, rasopabhoga, and svapna, or the faculties of hearing, touch, sight, smell, taste, and sleep, or the absence of these. Above this, again, there is another secret cakra, called Soma-cakra. It is a lotus of sixteen petals, which are also called sixteen
1. The gesture in which the first finger is uplifted and the others closed. Kalas1. These Kalas are called krpa (mercy), mrduta, (gentleness), dhairya (patience, composure), vairagya (dispassion), dhrti (constancy), sampat (prosperity),2 hasya (cheerfulness), romanca (rapture, thrill), vinaya (sense of propriety, humility), dhyana (meditation), susthirata (quietitude, restfulness), gambhirya (gravity), 3 udyama (enterprise, effort), aksobha (emotionlessness) *, audarya (magnanimity) and ekagrata (concentration).
Above this last cakra is "the house without support" (niralamba-purl), where yogis see the radiant Isvara. Above this is the pranava shining like a flame and above pranava the white crescent Nada, and above this last the point Bindu. There is then a white lotus of twelve petals with its head upwards, and over this lotus there is the ocean of nectar (sudha-sagara), the island of gems (manidvipa), the altar of gems (mani-pitha), the forked lightninglike lines a, ka, tha, and therein Nada and Bindu. On Nada and Bindu, as an altaf, there is the PaRāma-hamsa, and the latter serves as an altar for the feet of the Guru ; there the Guru of all should be meditated. The body of the Hamsa on which the feet of the Guru rest is jfiana may a, the wings Agama and Nigama, the two feet S'iva and Sakti, the beak Pranava, the eyes and throat Kama-Kala.
Close to the thousand-petalled lotus is the sixteenth digit of the moon, which is called ama kala,
1. Kala—a part, also a digit of the moon. 2. That is, spiritual prosperity. 3. Of demeanour evidencing a grave nature. 4. The State of being undisturbed by one's emotions. which is pure red and lustrous like lightning, as fine as a fibre of the lotus, hanging downwards, receptacle of the lunar nectar. In it is the crescent nirvana-kala, luminous as the Sun, and finer than the thousandth part of a hair. This is the Ista-Devatā of all. Near nirvana-kala is paRāma-nirvana-S'akti, infinitely subtle, lustrous as the Sun, creatrix of tattva-jnāna. Above it are Bindu and Visarga-S'akti, root and abode of all bliss.
Sahasrara-padma—or thousand-petalled lotus of all colours—hangs with its head downwards from the brahma-randhra above all the cakras. This, is the region of the first cause (Brahma-loka), the cause of the six preceding causes. It is the great Sun both cosmically and individually, in whose effulgence PaRāma-S'iva and Adya-S'akti reside. The power is the vacaka-S'akti or saguna brahman, "holding potentially within itself the gunas, powers and planes. PaRāma-S'iva is in the form of the Great Ether (paRāmakasa-rupi), the Supreme Spirit (paRāmātma), the Sun of the darkness of ignorance. In each of the petals of the lotus are placed all the letters of the alphabet; and whatever there is in the lower cakra or in the universe (brahmanda) exists here in potential state (avyakta-bhava). S'aivas call this place S'iva-sthana, Vaisnavas, PaRāma-purusa, Saktas, Devl-sthana, the Samkhya-sages, Prakrti-purusa-sthana. Others call it by other names, such as Hari-hara-sthana, S'akti-sthana, PaRāma-Brahma, PaRāma-hamsa, PaRāma-jyotih, Kula-sthana, and PaRāma-S'iva-Akula. But whatever the name, all speak of the same. |
