The limbs of haṭha-yoga in the Haṭha Yoga Pradīpikā and the Agama Rahasya Tantra

The limbs of haṭha-yoga according to the Haṭha Yoga Pradīpikā:

आसनं कुम्भकं चित्रं मुद्राख्यं करणं तथा ।
अथ नादानुसन्धानमभ्यासानुक्रमो हठे ॥ ५६ ॥

āsanaṁ kumbhakaṁ citraṁ mudrākhyaṁ karaṇaṁ tathā |
atha nādānusandhānamabhyāsānukramo haṭhe || 56 ||

The sequence of haṭha-yoga could be practiced as āsanas, breath holdings, mudrās and nādānusandhāna.

तान् हठयोगे वक्ष्यामः |
आसनं प्राणसंरोधो ध्यानं चैव समाधिकः |
एतच्चतुष्टयं विद्धि सर्वयोगेषु सम्मतम् || १२ ||

tān haṭhayoge vakṣyāmaḥ |
āsanaṁ prāṇasaṁrodho dhyānaṁ caiva samādhikaḥ |
etaccatuṣṭayaṁ viddhi sarvayogeṣu sammatam || 12 ||

Asana, a stopping of prāṇa (prāṇāyāma), dhyāna (contemplation) and samādhi – these four kinds are recognised in all the yogas.

Svātmārāma specifies the following sequence of the four-limb haṭha-yoga:

1) āsana, 2) prāṇāyāma, 3) mudrā, 4) nādānusandhāna.

Agama Rahasya Tantra specifies the following sequence:

1) āsana, 2) prāṇāyāma, 3) dhyāna, 4) samādhi.

Also, Agama Rahasya divides the genealogy of haṭha-yoga into two categories. The first one is going from Matsyendranātha (kaula and nātha yogin) and the second from aṣṭa-ciranjīvī (immortal ṛṣi and muni, like Mārkaṇ‍ḍeya and others). Although, they are considered to be related to nāthas in Nātha Samprādaya.

Nātha as a manifestation of the nāda

The following definition of the term nātha is given in Gorakṣa-siddhānta-samgraha:

नाकारो नादरूपं च थाकारः स्थाप्यते सदा |

भुवनत्रयोवैकः श्रीगोरक्ष नमोऽस्तु ते ||

Reverence to Gorakṣanāth, the Nātha, who is one in the three worlds, he as a syllable “nā” – means “nāda”, and “tha” – manifested (in the three worlds).

The other part also says that nāth is one who realises the nāda or the source of own origin. In the subtle form nāda is manifested in the form of the praṇava OM, which is known as Mahāgāyatrī, and in the gross form it is known as Brahmagāyatrī; all Navanāthas, Caurashi Siddhas, Deities, Vedas, grammar (vyākaraṇa), Purāṇa, Itihāsas, etc. are manifestations of this particular Nātha-yoga.

Indeed, practices related to nāda play a fundamental role in the Nāth Tradition.

From Dattātreya-yoga-śāstra

Here is an interesting śloka from Dattātreya-yoga-śāstra:

ब्राह्मणः श्रमणो वा बौद्धो वाप्यार्हतोऽथवा।
कापालिको वा चार्वाकः श्रद्धया सहितः सुधीः।
योगाभ्यासोऽतो नित्यं सर्वसिद्धिमवाप्नुयात्॥३८॥

brāhmaṇaḥ śramaṇo vā bauddho vāpyārhato’thavā |
kāpāliko vā cārvākaḥ śraddhayā sahitaḥ sudhīḥ |
yogābhyāso’to nityaṁ sarvasiddhimavāpnuyāt || 38 ||

Whether he is brāhmaṇa, śramaṇa (ascetic) or follower of Buddhism, jain, kāpālika or (even) cārvāka (materialist). If he is constantly practicing yoga with full faith, he will obtain all siddhis.

It is interesting that even cārvākas are mentioned, although I referred to such an opportunity many years ago, that aroused bewilderment in many. My opinion is very simple, the yogic worldview is plain, therefore it is flexible: if you like the doctrine with a complex metaphysics and theological concept – you can follow it, if you like a simple one – the same. I got my first mystical experience when I was living in an atheistic country, I did not have any books about the Śhiva’s omnipresence. You can call it anything, but there is something higher that regulates everything. And through what we discover it for ourselves, would it be sincere faith in God or sincere atheism, no one knows. Ideologies can sometimes serve as tools for understanding the yogic experience, that lies behind their formal images.

 

The uselessness of practices without a realised master

Not so long ago I was asked, “Why there are such ślokas in the last chapter (VI) of Siddha-siddhānta-paddhati:

लिङ्गाद्दण्डाङ्कुरान्तर्मनः पवनगमात् ब्रह्मनाड्यादिभेदम्।
कृत्वा बिन्दुं नयन्तः परमपदगुहां  शङ्खगर्भोदरोर्ध्वम्॥
तत्रान्तर्नादघोषं गगनगुणमयं वज्रदण्डोक्रमेण।
ये कुर्वन्तीहकष्टान् परमपदमहो नास्ति तेषां निरुत्थम्॥ ७९॥

liṅgāddaṇḍāṅkurāntarmanaḥ pavanagamāt brahmanāḍyādibhedam |
kṛtvā binduṁ nayantaḥ paramapadaguhāṁ  śaṅkhagarbhodarordhvam ||
tatrāntarnādaghoṣaṁ gaganaguṇamayaṁ vajradaṇḍokrameṇa |
ye kurvantīhakaṣṭān paramapadamaho nāsti teṣāṁ niruttham || 79 ||

Those who enter the brahma-nāḍi into the spine through the convergence of the mind and breathing, enter bindu into the upper state cavity through the vajroli-kriyā which is located above the cavity of the shell, and listen to a vibration similar to the sound of the heavens. They who suffer here [for the sake of perfection], do not reach the highest state of non-manifestation.

सम्यक् चालनदोहनेन सततं दीर्धीकृतां लम्बिकां।
तां ताल्वन्तखेशितां च दशमद्वारोदरे शंखिनीम्॥
नीत्वा मध्यमसन्धिसंघटघटात् प्राप्तां शिरोदेशतः।
पीत्वा षड्विधपानकाष्ठभजनं वाञ्च्छन्ति ये मोहिताः॥ ८१॥

samyak cālanadohanena satataṁ dīrdhīkṛtāṁ lambikāṁ |
tāṁ tālvantakheśitāṁ ca daśamadvārodare śaṃkhinīm||
nītvā madhyamasandhisaṁghaṭaghaṭāt prāptāṁ śirodeśataḥ |
pītvā ṣaḍvidhapānakāṣṭhabhajanaṁ vāñcchanti ye mohitāḥ || 81 ||

Those who perfectly “milk” (stretching) their tongue, as well as moving it (cālana) wrapping it back into the palatine region and through the shankhini channel in the tenth hole (brahmarandhra). Who tastes the six-part nectar from the head region.They fall into misguided path.

There’s also a lot of criticism of those who do yoga exercises. Then the question arises, how can yogic Tradition criticise methods that themselves relate to it? After criticising all these methods and yogic states, even after revealing which the yogi can fall into delusion, the following is said:

आज्ञासिद्धिकरं सदा समुचितं सम्पूर्णमाभासकं
पिण्डे सर्वगतं विधानममलं सिद्धान्तसारं वरम्।
भ्रान्तेर्निर्हरणं सुखातिसुखदं कालान्तकं शाश्वतं
तन्नित्यं कलनोज्झितं गुरुमयं ज्ञेयं निरुत्थं पदम्॥ ९३॥

ājñāsiddhikaraṁ sadā samucitaṁ sampūrṇamābhāsakaṁ
piṇḍe sarvagataṁ vidhānamamalaṁ siddhāntasāraṁ varam |
bhrānternirharaṇaṁ sukhātisukhadaṁ kālāntakaṁ śāśvataṁ
tannityaṁ kalanojjhitaṁ gurumayaṁ jñeyaṁ nirutthaṁ padam || 93 ||

The non-manifestation state is comprehended as having a nature of the Guru, it is devoid of manifestation, eternally, it destroys time, bestows supreme happiness, eliminates delusion. It, residing in the body, totally shining, granting the perfection of Will (ājña), is the pure essence of the teachings of the perfect.

The sense is that without patronage and correction from the traditional Guru realised in the purity, any practices and even “achievements” can be meaningless. These ślokas are very relevant for the present time, when yoga has lost its traditional goals.

Even if someone is not pleased to read these parts of the text, one must admit the fact that they have truth. Although the described yogic techniques being applied in the original yoga guidelines, in any case, have their value. It’s just like if an ignorant jungle man was shown a computer and the Internet, not guarantee he wouldn’t decide to dig a hole by the laptop. He has to understand what the true purpose of this device is, what its usefulness, if he learns to use it. Similarly, with any yoga methods.

Sequence and randomness of aṅgas in yoga

I have found different sequences and quantity of the yoga parts (aṅgas), but the following sequence from Agni-purāṇa (381.11), I think, is especially interesting:

प्रणयमस्तथा ध्यानं योगो प्रत्याहारोऽथ धारणा | समाधिश्च मुनिश्रेष्ठा यमो नियम आसनम् ||
praṇayamastathā dhyānaṃ yogo pratyāhāro’tha dhāraṇā |
samādhiśca muniśreṣṭhā yamo niyama āsanam ||

The eleventh part of Kūrma-purāṇa (11.11-12) actually repeats this śloka and the description of the aṅgas sequence: praṇayama, dhyāna, pratyāhāra, dhāraṇa, samādhi, yama, niyama, āsana.

What is most interesting that ‘āsana’, which now has become the most important and maybe even the only practice, is listed in the very last position; yama and niyama go prior to it. I personally see logic even how the āsana is described by Patañjali, by Gorakśanāth, in Śiva-sūtra-vimarśinī, and other texts of different traditions and darśanas. Concerning yama and niyama, it is also logical, there is even a version that they were prescribed to saṃnyāsin, and also the logic is that the perception and perfection of yama and niyama can change with enhancement in contemplative methods.

Khecarī as a mudrā, mantra and a Goddess

There are many practices and elements of one or another practice under the name of khecarīmudrā, for the reason that in India every spiritual path introduced something of its own. For example, in Gorakh-bānī, khecarī-mudrā is one of eight mudrās:

मुष मध्ये षेचरी मुद्रा, स्वाद विस्वाद ले उतपनी |
 स्वाद विस्वाद समो कृत्वा, मुद्रा तौ भई ||

muṣ madhye ṣecarī mudrā, svād visvād le utapanī |
svād visvād samo kṛtvā, mudrā tau bhaī ||

«Khecarī-mudrā is inside the mouth, where a feeling of pleasant and unpleasant taste appears. Khecarī-mudrā is realised when a practitioner is in even attitude to pleasant and unpleasant tastes.»

Some of these eight mudrās are described in a similar way, as a form of regulation of sensory states.

In Jogpradīpikā by Jayatarāma, which is also written in dialect, khecarī-mudrā is included in the category of several mudrās, which resemble hand mudrās of Śrīvidyā by their names. There are such mudrās as: सर्वसंक्षोभिणी मुद्रा (sarvasaṃkṣobhiṇī mudrā), सर्वविद्राविणी मुद्रा (sarvavidrāviṇī mudrā) etc. They are presented in the same sequence as in Śrīvidyā Tantra, with the difference that in Jogpradīpikā those are not hand gestures, but internal yogic processes. In Śrīvidyā, these mudrās are also associated with various Goddesses (Yoginis), who are worshiped with mantras and also those gestures. Obviously, these elements of Śrīvidyā Ttantra, as well as the elements of other Tantric systems, have influenced yogic methods. Another text that I found in the Nath Chaungera Mandir in Nepal, is Gorakh-yog-mañjarī, which also describes those mudrās. The text is a combination of elements of Hatha-yoga-pradīpikā and possibly Jogpradīpikā. In the yogic khecarī-mudrā description, in the same manner as in Jogpradīpikā, can be found such approaches as चलन calana (a movement of the tongue for stretching of its base), दोहन dohana (stretching), छेदन chedana (cutting the base of the tongue). In the same text, the practices of khecarī-mantra are given with viniyoga, aṅga– and kara-nyāsas.

अस्य श्री खेचरीमन्त्रस्य कपिल ऋषिः सिद्धिनाथो देवता खेचरीमुद्राप्रसादे सिद्धयर्थे जापे विनियोगः 

oṃ asya śrī khecarīmantrasya kapila ṛṣiḥ siddhinātho devatā khecarīmudrāprasāde siddhayarthe jāpe viniyogaḥ 

With the declaration of content and the purpose of a sādhana, in the form of success in chanting the mantra, ṛishi, Devatā.

गं हृदयाय नमः| सं शिरसे स्वाहा | नं शिखायै वषट् | मं कवचाय हुं | फं नेत्रत्रयाय वौषट् | लं सः अस्त्राय फट्

gaṃ hṛdayāya namaḥ| saṃ śirase svāhā | naṃ śikhāyai vaṣaṭ | maṃ kavacāya huṃ | phaṃ netratrayāya vauṣaṭ | laṃ saḥ astrāya phaṭ| 

Then recommendations are given to perform kara-nyāsa by adding the following bijas: ह्रं ह्रीं ह्रूं ह्रैं ह्रौं ह्रः hraṃ hrīṃ hrūṃ hraiṃ hrauṃ hraḥ to each element of the kara-nyāsa.

Similar recommendations are given in Yogakuṇḍalyupaniṣaḍ:

पूर्वं बीजयुता विद्या ह्याख्याता याति दुर्लभाम् ३७
तस्याः षडङ्गं कुर्वीत तया षट्स्वरभिन्नया
कुर्यादेवं करन्यासं सर्वसिद्ध्यादिहेतवे ३८  

pūrvaṃ bījayutā vidyā hyākhyātā yāti durlabhām
tasyāḥ ṣaḍaṅgaṃ kurvīta tayā ṣaṭsvarabhinnayā
kuryādevaṃ karanyāsaṃ sarvasiddhyādihetave 38  

«This is a special knowledge, described earlier, with the bija which is difficult to implement. It is necessary to perform ṣadaṅga (nyāsa) with an addition of six “svāras” of vowels (previously mentioned as ह्रं ह्रीं ह्रूं ह्रैं ह्रौं ह्रः hraṃ hrīṃ hrūṃ hraiṃ hrauṃ hraḥ. To achieve perfection, one must perform kara-nyāsa.»

Khecarī-mantra is described in Haṭha-tattva-kaumudī (Ch.18) in same way as in Yogakuṇḍalyupaniṣaḍ, and viniyoga, nyāsa with the dhyāna are also given. Five lakhs (500 thousand times) of mantra is recommended to recite for its realisation. The bija-mantra ह्रीं hrīṃ is described as the main khecarī-bija in the following way:

खेचरावसथं वह्निमम्बुमण्डलभूषितम्
व्याख्यातं खेचरीबीजं तेन योगः प्रसिध्यति

khecarāvasathaṃ vahnimambumaṇḍalabhūṣitam
vyākhyātaṃ khecarībījaṃ tena yogaḥ prasidhyati

«Khecarī means ha (i.e. the element of space), ra or ‘repha’ is the state of fire, so कार ī-kāra is adorned with the space of the moon (i.e. bindu or anusvāra). This way khecharī-bija ह्रीं hrīṃ, which grants perfection in yoga, is formed».

In addition, several more mantras are given. For example, to remove obstacles and please Deities, the following mantra is mentioned:

ह्रीं खेचर्यै नमः hrīṃ khecaryai namaḥ 

The melana-mantra in Yogakuṇḍalyupaniṣaḍ is the same as in Khecharī Vidyā of Ādinātha:

ह्रीं भं सं पं फं सं क्षं hrīṃ bhaṃ saṃ paṃ phaṃ saṃ kṣaṃ

However, there are many sources where mantras or bijas, khecharī kūṭākṣaras are very different.

In Gorakh-yog-mañjarī there is a mantra:

ह्रीं गं सः नमः  oṁ hrīṁ gaṁ saḥ namaḥ

In Yogacūḍāmaṇyupaniṣaḍ, khecharī  is mentioned in connection with the “So-Hammantra:

जाग्रन्नेत्रद्वयोर्मध्ये हंस एव प्रकाशते
सकारः खेचरी प्रोक्तस्त्वंपदं चेति निश्चितम् ८२॥
हकारः परमेशः स्यात्तत्पदं चेति निश्चितम्
सकारो ध्यायते जन्तुर्हकारो हि भवेद्धृवम् ८३॥

jāgrannetradvayormadhye haṃsa eva prakāśate
sakāraḥ khecarī proktastvaṃpadaṃ ceti niścitam 82
hakāraḥ parameśaḥ syāttatpadaṃ ceti niścitam
sakāro dhyāyate janturhakāro hi bhaveddhṛvam 83

«In the awakened state the so-ham shines in the centre of the eyebrow. The produced sound “Sa” is known as khecharī, it symbolises the state of tvam (the individual Self). The pronounced sound “Ha” means the Supreme Lord, it symbolises tat (That). Who contemplates himself as “Sa” becomes definitely identified with “Ha”(That, i.e. Absolute).»

In Kubjikā Tantra khecharī-bija is called ख्फ्रें khphreṃ, in Tantrāloka Abhinavagupta associated this bija with dissolution in the macrocosm, the practices of Bhairava-mudrā (the unity of outer and inner spaces), etc. There is an instruction given for each element of that bija in Tantrāloka. The Yogi in a state of total renunciation must immerse himself into the space of ‘Kha’, reaching full bloom पुल्ल pulla (‘Pha’ symbol). Individuality will be dissolved in the fire of ‘Ra’ of the triangle (yoni), symbolised by the “E”-phoneme (), letting a yogi reside in the great reality of bindu “M”.

In Mahākāla-saṃhitā there are many khecharī-mantras, such as ख्रौं khrauṃ and others. We can consider khecharī as the Goddess, where ‘mudrā‘ is the term of the feminine gender and means a Goddess’, in this sense it can be Kuṇḍalinī  itself, ascending into the space above the head, identical to Śiva. In that case she is also a Goddess Śambhavi (Śambhavi-mudrā), i.e. directed to Śambhu – Śiva’s name meaning someone who is manifested as the pacification ‘Śam’. In that context, khecharī-mudrā is the internal process of Śiva-Śakti merging. The mudrā can also mean ‘joy’ (ānanda) of the Goddess and Śiva union. In Kashmir Śaivism, khecharī is a union (mudrā) of the space of our consciousness ‘Kha’ with carana (something that moves within this consciousness or changes, i.e. Śakti). In the texts of  खेचरी khecarī is described among four special mudrās, such as करङ्किणी (karaṅkiṇī), क्रोधिनी (krodhinī), भैरवी (bhairavī), लेलिहाना (lelihānā). Their meditative practices are described in Vijñāna Bhairava Tantra and other texts. The experiences of those mudrās are related to the five centres of the body: kanda (a place where Kuṇḍalinī is in a contracted state), nābhi (abdominal area), hṛdaya (heart), kaṇṭha (throat) and khecharī is comprehended in the bhrumadhya (a point between the eyebrows). It corresponds to the Haṭha-yoga texts, because khecharī is mainly associated with the space of the head or above it. Those mudrās, as well as others are described in detail in āhnika 34 of Tantrāloka, devoted to mudrās. But all the mudrās are considered as manifestations of khecharī, and this also fits with how khecharī is presented in the Yogic texts. In truth, many of Yogic texts, especially some particular parts of them, I personally associate with Tantric processes, which are expounded in Tantras. Here is an example, the part of Yogakuṇḍalyupaniṣad:

तस्मात्सर्वप्रयत्नेन गोपनीयं विजानता यत्रास्ते गुरुर्ब्रह्मन्दिव्ययोगप्रदायकः १४॥
तत्र गत्वा तेनोक्तविद्यां संगृह्य खेचरीम् तेनोक्तः सम्यगभ्यासं कुर्यादादावतन्द्रितः १५॥
अनया विद्यया योगी खेचरीसिद्धिभाग्भवेत् खेचर्या खेचरीं युञ्जन्खेचरीबीजपूरया १६॥
खेचराधिपतिर्भूत्वा खेचरेषु सदा वसेत् |

tasmātsarvaprayatnena gopanīyaṃ vijānatā
yatrāste ca gururbrahmandivyayogapradāyakaḥ 14
tatra gatvā ca tenoktavidyāṃ saṃgṛhya khecarīm
tenoktaḥ samyagabhyāsaṃ kuryādādāvatandritaḥ 15
anayā vidyayā yogī khecarīsiddhibhāgbhavet
khecaryā khecarīṃ yuñjankhecarībījapūrayā 16
khecarādhipatirbhūtvā khecareṣu sadā vaset |

«The practitioner must consider a transmission of that practice from a Guru as a connection with Acyuta (Viṣṇu), it is necessary to perceive the Guru, transmitting that secret knowledge, as Śiva himself. Having received that knowledge, it cannot be shared with anyone. Oh Brahman, it’s required to come to the place where that Guru teaches divine yoga and receive khecharī-vidyā from him. After that one can practice very keenly, and khecharī will give him siddhi. “Connecting” युञ्जान yuñjāna with khecharī, through khecharī and khecharī-bija, a yogi becomes a lord of the khecarās and resides in the space all the time (unconditioned).»

This part reminds me of gaining of śaktipāta and transmission of a sādhana, described in Tantrāloka, where śaktipāta is firstly transmitted from a Guru and the knowledge of how to practice. Then a sādhaka receives śaktipāta from a Goddess “Duti”, connecting with her, and that second śaktipāta is considered stronger (तीव्र शक्तिपात tīvra śaktipāta) then the first (मन्द शक्तिपात manda śaktipāta), it gives the highest realisation. Although of course, one cannot be realised without the other, but there is nothing higher then śaktipāta from the Goddess itself.

The “Dark Nature” of Shiva is not one of the gunas, but the original abyss

A good example of the fact that when talking about tamas and relating it to Shiva, it is meant not simply one guna of the Prakriti, but something more, we can see in the earliest sources. Here is how it is said about the nature of darkness in “Nasadiya-suktam” (Rig Veda, Mandala 10. 129. 03):

तम आसीत्तमसा गूढमग्रेऽप्रकेतं सलिलं सर्वमा इदं ।
तुच्छ्येनाभ्वपिहितं यदासीत्तपसस्तन्महिना जायतैकं ॥३॥

tama āsīttamasā gūḍhamagre’praketaṃ salilaṃ sarvamā idaṃ ।
tucchyenābhvapihitaṃ yadāsīttapasastanmahinā jāyataikaṃ ॥3॥

At the very beginning of the creation of all existence was darkness, hidden by the very darkness, all these were waters. From a single tapas (the heat) in the void, the One was originated.

The darkness there is not just one of the qualities (as some of the Krishna’s followers interpret, for example) of the primary cause of the Prakriti creation, but indeed, this is the Great Abyss from which everything manifested itself and into which everything is absorbed back. Exactly in this context Shiva is also meant, when one speaks of His inherent darkness.

Sound as light and fluids in the Rig Veda

We often find practices related to light and sound in yoga. You can see a lot of such elements as sexual secretion, red and white in Kaula Tantrism, as well as in the yoga of nathas and siddhas. These elements can be described both as liquid substances and as forms of light (fire). Abhinavagupta described the sounds of anahata and the manifestation of the entire matrika, as a manifestation of Shiva and Shakti passions, linking this with the theory of Shabda Brahman. However, the connection of sound with light and liquid can be traced in the Vedas, I offer quotes from the most ancient one, the Rig Veda.

Sound as light:

07.101.01 (Mandala. Sukta. Rik)

तिस्रो वाचः प्र वद ज्योतिरग्रा या एतद्दुह्रे मधुदोघमूधः ।
स वत्सं कृण्वन्गर्भमोषधीनां सद्यो जातो वृषभो रोरवीति ।।

tisro vācaḥ pra vada jyotiragrā yā etadduhre madhudoghamūdhaḥ ।
sa vatsaṃ kṛṇvangarbhamoṣadhīnāṃ sadyo jāto vṛṣabho roravīti ।।
VII, 101. To Parjanya

1. Pronounce three speeches ahead of which is the light,
(Those) that are milked from this udder flowing the honey.
Creating a calf, a plant fragment,
Barely born, the bull immediately roars loudly.

01.138.02 (Mandala. Sukta. Rik)

प्र हि त्वा पूषन्नजिरं न यामनि स्तोमेभि: कृण्व ऋणवो यथा मृध उष्ट्रो न पीपरो मृध:।
हुवे यत्वा मयोभुवं देवं सख्याय मत्र्य: ।
अस्माकमाड्गूषान्द्युम्निनस्कृधि वाजेषु द्युम्निनस्कृधि ।।

pra hi tvā pūṣannajiraṃ na yāmani stomebhiḥ
kṛṇva ṛṇavo yathā mṛdha uṣṭro na pīparo mṛdhaḥ।
huve yatvā mayobhuvaṃ devaṃ sakhyāya matryaḥ।
asmākamāḍgūṣāndyumninaskṛdhi vājeṣu dyumninaskṛdhi ।।
I, 138. To Pushan

O Pushan, after all, I urge you forward, by praising,
Like horse in a riding, that you disseminate the hostile intentions.
Like a camel (a load), pass over (through us) hostile plans!
When I call you, blessed
God, (I,) mortal, for friendship,
Make our praises brilliant,
To get awards, make (them) brilliant!

02.009.04 (Mandala. Sukta. Rik)

अग्ने यजस्व हविषा यजीयान् श्रुष्टी देष्णमभि गृणीहि राध:।
त्वं हृासि रयिपती रयीणां त्वं शुक्रस्य वचसो मनोता ।।

agne yajasva haviṣā yajīyān śruṣṭī deṣṇamabhi gṛṇīhi rādhaḥ।
tvaṃ hṛāsi rayipatī rayīṇāṃ tvaṃ śukrasya vacaso manotā ।।
II, 9. To Agni

4. O Agni, sacrifice the libation as the best sacrificer!
With (your) ability to favorably listen, accept cordially the gift (and) offering!
After all, you are the master of wealth,
You are the inventor of brilliant speech!

Sound as liquid:

09.057.01 (Mandala. Sukta. Rik)

प्र ते धारा असश्रतो दिवो न यंति वृष्टयः ।
अछा वाजश्र सहस्त्रिण ।।

pra te dhārā asaśrato divo na yaṃti vṛṣṭayaḥ।
achā vājaśra sahastriṇa ।।

1. Your flows, without drying out, are moving forward,
like raindrops from the sky,
To the thousandth reward.

09.057.02 (Mandala. Sukta. Rik)

अभि प्रियाणि काव्या विश्वा चक्षाणो अर्षति ।
हरिस्तुंजान आयुधा ।।

abhi priyāṇi kāvyā viśvā cakṣāṇo arṣati ।
haristuṃjāna āyudhā ।।

2. Looking at all the pleasant
Poetic works, flowing
Golden, shaking with weapons.

IX, 34. 6. To Soma

समैनमहुता इमा गिरौ अर्षन्ति सस्रुर्तः ।
धेनूर्वाश्रो अवीवशत्  ।।

samainamahutā imā girau arṣanti sasrurtaḥ ।
dhenūrvāśro avīvaśat  ।।

6. These songs, non-deflecting, one way
are flowing one way all together to him.
The roaring caused the mooing of milk cows.

A hymn to Soma

त्वं धिय मनोयुज सृ्जा वृष्टिं न तन्यतुः ।
त्वं वस्तुनि पार्थिवा दिव्या च सोम पुष्यसि ॥

tvaṃ dhiya manoyuja sṛjā vṛṣṭiṃ na tanyatuḥ ।
tvaṃ vastuni pārthivā divyā ca soma puṣyasi ॥

09.100.03 (Mandala. Sukta. Rik)

Release a poetic thought, harnessed by the spirit,
As the thunder (releases) rain!
You cause prosperity, o Soma,
Earthly and heavenly goods.

Elements of Kaśmir Śaivism mentioned in ‘Amaraugha-śāsana’ of Gorakṣanāth

Right at the beginning of the text “Amaraugha-śāsanaGorakṣanāth describes various processes, connected with different types of Śakti. The highest ultimate space (parama-sukha) could be acquired via ūrdhva-śaktinipātāna (descent of the upper Śakti), adhaḥ-śaktikuñcanā (folding of the lower Śakti) and madhya-śaktiprabodhena (awakening of the middle Śakti). Further, Gorakṣanāth tells about a practice named ṣaḍadhvagā-sāraṇā (unfolding of six flows), these ṣaḍadhvagās are also described in Trika texts. I’ll briefly explain what that practice is about. Bindu and a tendency to create are manifested through tension of nāda, which is generated by Śiva, playing with Śakti. Then Śiva manifests himself in the forms of vācaka (he who manifests speech) and vācya (what is manifesting), which are designated as arthas (objects). Such self-manifestation of Śiva has three levels: para (supreme), sūkṣma (subtle) and sthūla (gross), each of whom are divided in two, the one where vācaka (subject) prevails and the other, where vācya (objectivity) prevails. On the para level the subject is vārṇa (mātrikas) and the object is kalā (aspects of creation). On the whole, different mātrikas cover certain kalāsvārṇa क्ष corresponds to nivṛtti-kalāvārṇas ह to ट correspond to pratiṣṭhā-kalāvārṇas ञ to घ correspond to vidyā-kalāvārṇas ग ख and क are located in śāntā-kalāvārṇas from visarga to अ are located in śāntyatīta-kalā. Further, mantras and their manifestations as 36 tattvas are located on the sūkṣma level. Pada (word-forms) and manifested worlds of bhuvan are located on the sthūla level. A considerable amount of different mantras, padas and worlds are described in texts. All in all these elements have a match for each other, Śiva manifests them as Macrocosm, whereas they are presented in us as a microcosmic structures. A practice, where these elements are used, is given in “Vijñānabhairava-tantra”:

भुवनाध्वादिरूपेण चिन्तयेत्क्रमशोऽखिलम्।
स्थूलसूक्ष्मपरस्थित्या यावद् अन्ते मनोलयः॥ ५६॥

bhuvanādhvādirūpeṇa cintayetkramaśo’khilam |
sthūlasūkṣmaparasthityā yāvad ante manolayaḥ || 56 ||

It is necessary to contemplate dissolution from bhuvan etc. to all adhvas, from the gross level (sthūla) to the subtle (sūkṣma), and further, to the supreme level (para) and to achieve the dissolution of the mind in the end.

Vijñānabhairava-tantra (Shloka 35)

Verse 35, Vijñānabhairava-tantra

Summary of discussion on Vijnana-bhairava-tantra made by Guru Yogi Matsyendranath and Rev. John Dupuche

“The central channel stands at the centre like the stem of a lotus. By meditating on this space within, the God shines forth, because of the Goddess.”

मध्यनाडी मध्यसंस्था बिससूत्राभरूपया।
ध्यातान्तर्व्योमया देव्या तया देवः प्रकाशते॥ ३५॥

madhyanāḍī madhyasaṁsthā bisasūtrābharūpayā |
dhyātāntarvyomayā devyā tayā devaḥ prakāśate|| 35 ||

This śloka is concerned with the context in which the Goddess can be effective.  She is the major operative force in his śloka. It is because of her that the God becomes evident.

The first line of the  śloka gives a set of balances.

1. The first is between the left (iḍā ) and right (piṅgalā) channels of the body.  Iḍā is described as ‘white’, ‘feminine’, ‘cold’, and represents the ‘moon’ while piṅgalā is described as ‘red’, ‘masculine’, ‘hot’, and represents the ‘sun’. The channels start from the base chakra (mūlādhāra), cross from side to side of the body, and finally meet at the point between the eye-brows (ājñā). The subtle-breath (prāṇa) circulates through them.

Between iḍā and piṅgalā is the central channel (madhyanāḍī) which is called   suṣumnā. It is where the left and right channels balance their energies.

The Spandakārikā, another of the texts of Kashmir Shaivism, associates the practice of this śloka with the outward (prāṇa) and inward (apāna) breaths. The contrasting forces of exteriority and interiority are balanced. Persons with an extrovert nature, if not balanced by a sense of interiority, become bombastic. Likewise persons with an excessively introvert character lose touch with reality. A balance of outward (prāṇa) and inward (apāna) is necessary.  A balanced personality will be both self-aware and outer-aware.

From another yogic viewpoint, the balance of the prāṇa and apāna lead to the from of subtle breath called samāna (‘equality’, ‘evenness’) and from this comes the ‘upward rising subtle-breath’ (udāna) which in turn leads to the vyāna and the full flowering, the energizing of the all the centers, and faculties, so that in the end the whole person is empowered.

It is also the state of bhairavamudrā where inner and outer coincide. When Bhairava looks within himself he sees the whole world, since all things proceed from him. If he looks at the world outside he recognizes it as his very self.

2. The second balance is between upper and lower. The image is that of the lotus stalk (bisa-sūtra), which comes out of the mud, rises and flowers on the surface of the water. The stalk links lower and upper, immanence and transcendence, the transience (saṁsāra) of water and the infinity of space. Both upper and lower are present, neither is rejected.

The stalk is a tube, and therefore is empty in its inmost core. This is the suṣumnā, the central channel, which is not anatomically visible but is experienced in the body, particularly along the spine.

The first half of second line of the śloka describes the practice

The practitioner meditates (dhyātā) on the emptiness (vyoman) of the ‘stalk’ within himself (antar), located between right and left, between base and height. In this way he ensures there is openness and freedom; he makes sure there is neither rejection nor control.

The second half of second line of the śloka describes the result

As a result the Goddess is free to function. She becomes active and energetic, and under her influence (devyā) the suṣumnā becomes a place of movement, as the energy unfurls from the base (mūlādhāra) to the highest level, to the thousand-petalled lotus (sahasrāra) at the crown of the head. The goddess rises spontaneously and brings the practitioner to fullness of knowledge. Because of her (tayā) the God (devaḥ) shines forth (prakāśate).

It is then that the practitioner realizes he is not just like Śiva but is Śiva.  He is full of light, he is light.