Length and Rate of your breathing

We are breath, or more more correctly we are linked to this manifested creation primarily by the movement of air through our nostrils. To go beyond the limits imposed by the manifested, the first step is control of the breath. If you control your breath, you naturally control the pran moving within you. If you can control your pran, you automatically control your mind. Your mind is like a ball in your hand, it jumps up and down with the movement of pran. If you still the movement of pran, you also still your mind. The pran’s movement stills when you still your breathing, ie achieve Keval Kumbhak state, where there is no breathing in nor breathing out. If your Mind goes still, you achieve the ‘unmani-state’, beyond-Mind. After you reach this Unmani state, you hear the continuous ‘Nada’, the sound of the unmanifested. If you can dissolve your limited consciousness in the sound of the Nada, you achieve the Eternal.

Length and Rate of your breath

Our regular breathing is very turbulent. It depends on the physical movement of the body but it also depends significantly on your emotions and your thoughts. Check your breathing pattern when you are happy, sad, angry, upset, relaxed, focussed, etc and observe for yourself how it varies.

All texts on breathing and Dhyan will talk about the length of the breath and the rate of breathing.

  • This is how you determine the length of your breathing in comparison to your own finger-widths, a measure called angula. Switch off the fan in your room first, it should not be windy inside. Place some cotton fibres or a very thin thread on the back of your hand and keep it at some distance from your nose. Be at rest, relax and breathe normally. As you exhale on the cotton fibres they will move with the force of the exhaled air. Try to find out till what distance from your nose, the cotton fibres visibly move with your exhaled breath. Measure this distance from your nostrils to the fibres with a piece of thread. Now count how many finger-widths long is your breath when you are at rest.
  • Now to measure your breathing rate. Sit in a relaxed position. Set a timer for 5 mins. Count your breathing, ie one inhale and one exhale is one breath. eg If you count 52 breaths in 5 mins, then it is average at about 10 breaths per minute. eg If it is 68 breaths in 5 mins it is approximately 14 breaths per minute. As per science, the average human breathing rate at rest is 12 per minute.

Your life span is measured in breaths, not years. If you breathe slowly, you will live longer, look younger and be more healthy. But you should not force yourself to stop/slow breathe, if you do so, you will damage your body and your nadi-s. This should happen spontaneously and it will happen gradually as you do your spiritual practice.

(This photograph of my Sat-guru was taken in 1990, he was physically 85yrs old then.)

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If your breathing is fast, forced, laboured, intense etc the air will be displaced for a longer distance from your nose. ie the length of the breath will increase. As per the texts, this is how the activities affect your breath, eg eating increases the length to 18 angula, walking increases it to 20 angula, run­ning to 24 angula, sexual activity to 60 angula etc. If the length of the exhaled breath is longer, it reduces your life-span. The reason is that with every exhaled breath, you are also exhaling pran from your system. Generally you lose more pran than you pull in from the universe as your exhaled breath is always longer than your inhaled breath. And if the exhaled breath is made longer by engaging in strenuous activities or mental turbulence, even more pran goes out. (So over-indulgence in sexual activity is not advisable for spiritual aspirants, 60 angula long-breath!)

When you breathe slowly, without any jerks, the exhaled air moves out with less force, ie it’s length in angula becomes shorter. As the breathing becomes slow, it also becomes less turbulent, the flow of the pran in the nadi-s becomes smoother, more subtle, thinner? It actually becomes a fine needle of pure gold/ silver shimmer. In Dhyan, you are supposed to actively open your central Sushumna and close the Ida and Pingala. When such smooth subtle flow of pran moves through the Sushumna it effectively ‘cleans’ it out. Once the Sushumna is ‘clean’, all karmic impurities/ blockages are removed, it becomes very easy for the kundalini to rise up through it in one continuous smooth flow. It is always better for the spiritual aspirant if the Kundalini moves only after the Sushumna is clean from the Mooladhar to the Brahmarandhra.

So the point is that if you reduce the breathing rate and reduce the length of breath which actually happens simultaneously, you will increase the length and quality of your life and also gain control over your pran, Mind and also on the people around you and the environment you live in. Here is what the texts say,

  • If it is 10 angula, you gain peace of mind which lasts for a long time.
  • If it is 9 angula, you can spontaneously write, prose, music etc which have deep impacts on others.
  • If it is 8 angula, you will be able to speak spontaneously without hesitation. Your words will cause deep impact on those who hear you.
  • If it is 7angula, your vision will change, seeing into the past, present, future, parallel is possible now.
  • If it is 6 angula, you can move your body through air.
  • If it has gone to 5 angula, now onwards, your progress in your spiritual practice becomes very fast.
  • If it goes to 4 angula, you will attain the eight major siddhis (anima, mahima, garima, laghima, prakamya, ishitva, vashitva, kamavashayitva) and the several minor siddhis.
  • If it goes down to 3 angula, you gain the nava nidhi vidya the 9 types of consciousnesses. These are said to be under the control of Yaksharaj Kuber.
  • If it goes upto 2 angu­la, then the body is not longer a binding, you can change the shape of your 5-layered body.
  • If it reduces to 1 angula, you can become invisible and exist in just the subtle or causal body. Time, space and other dimensions lose their dominion on you.
  • Finally when the breathing stops, ie there is no exhalation or inhalation, Keval Kumbhak is attained, now the further process of Self realization starts in real earnest.

So as you do your spiritual practice, with time, your breathing will slow down and stop intermittently and then fully. It is nothing to be scared of. You don’t need air to remain alive in this created world. You need only pran, and it can be pulled in not just through the nostrils but also via the skin and majorly through the top of the head. This ability to consciously pull in pran increases, as you do your spiritual practice. So as an aspirant, your only job is to breathe with Soham, the rest of it will happen spontaneously and naturally.

 

Length and Rate of your breath

Sounds heard during meditation

There was a question on this, so a quick post. As you do your regular spiritual practice using the mantras Soham or Hamsa or Om, you will see signs of your progress. These are not achievements in any sense of the word, just signs that you are following your route. As per the Hamsa upanishad this is the sequence of the sounds,

  1. Chinni – a single sound heard occasionally, like a single chirrup of a cricket
  2. Chinni- chinni – a sound like crickets, but tinkling-like and pleasant.
  3. Bells ‘Ghanta’ ringing – a deep tolling bell
  4. Conch ‘Shankh’ being blown
  5. A musical instrument’s string being plucked ‘Tantri’
  6. Cymbals ‘taal’ 
  7. Flute ‘Venu’
  8. Drums ‘Mridanga’
  9. War drum ‘Bheri’ 
  10. Thundering ‘Megh-naad’ 

When you do your practice and do it for sometime, you first hear the single ‘chini’ type of sound occasionally. Then when you start hearing the second sound and till the last thundering sound, these sounds are on all the time, a muted continuous background sound. You can hear them all the time if you are in a silent room. In fact you can feel their vibrations in your body if you are sitting quietly in a silent room. Sometimes one sound will predominate and at other times some other sound. Some of the sounds are on high pitch and some are very low bass notes. Each is a constant sound, eg you will not hear varying pitches in the stringed instrument, it will be like someone picked just one string and its sound is heard constantly. It not like someone is playing your chakras like a guitar! You have to sit in a silent room as they cannot be heard properly in a noisy environment. If you use ear plugs, you might miss out the lowest pitched ones. Also do not plug your fingers in your ears, as you will then ‘hear’ the muscles in your fingers snapping, this will interfere with your ‘listening’ to your inner sounds. A silent room is best. 

You will also hear other sounds as your Ajnya chakra gets more charged up. Eg sounds of bumble bees, birds twittering, frogs croaking, wind rushing, the constant flow of a river, white noise etc. You will also hear single sharp cracks and thudding sounds as if a wood has snapped or a huge weight has fallen next to you. You will hear so many sounds in your Dhyan. But these are one-off sounds, you don’t hear them always on.

And don’t worry if you don’t hear them all or all in sequence or if you do not remember hearing them. In deep Dhyan, the Mind, both conscious and unconscious, is switched off. So whatever visions appear before you or sounds you hear, you might not be able to clearly remember them after you get up.

Sounds heard during mediation

Then while you are ‘hearing’ all this you will also have these effects on your body. These really happen so do not feel scared when they start. Pran moves along your body in waves, so the hair on your skin all stand up for minutes (very common). You feel coolness on your skin. You feel wind rushing on your skin. Your throat constricts and your sound box moves upwards. The body muscles contract and tremble spasmodically. You might feel pain and then again it gets soothed. There may be cycles of these sensations. You might feel pressure in your third eye area, or on the top of your head at specific points, you might feel coldness trickling down your head. You might feel your third eye ‘pop’, ie something like ‘air’ popped out from there. Your backbone might stiffen, your neck posture can rearrange itself. Eyes will get sealed shut, you will not be able to open them even if you want to. 

But in Dhyan, you are not supposed to get involved in observing these things. Your only job is to sit comfortably, breathe slowly, focus on the third eye and recite your mantra in your mind.

Then these things initially happen only when you are actively sitting on your Asan and focussing intently. The Mind has to be still. These generally won’t happen when you are in office and doing your official stuff. (But if you take a 5min break and do a quick mini-Dhyan in office you can experience all this there too.) And as this happens when you are doing your Dhyan you might not really be aware of these separate processes. I really wasn’t aware of much of these things until I read the Hansa Upanishad. As I read the descriptions I realised that this stuff had happened but I was so immersed that it did not register nor did I remember it when I got up.

The Upanishad says these following are the effects on the body as you progress, body feels pins and needles, hair stand up. Then there is pain as the pran pierces through the Sushumna nadi. (Or you might feel an oily dense liquid thing which would be the Kundalini moving) You might feel that things are snapping and breaking inside you. Shivering and trembling of muscles occurs. Saliva collects in your mouth. Then nectar collects in your throat, ie the secretions of the pineal gland are now available for your conscious use. You will be made aware of the secret knowledge ie things which you had read earlier will now give different secret meanings, you will spontaneously ‘know’ so many things about yourself and others around you. Then you will know the secret of mantras also you will hear mantras being spoken in your ears as you do your Dhyan, or even when you are sitting silently anywhere. The 9th step is that you gain control over your body, ie you can dissolve it to pure energy and reform it again wherever you want. You will also gain complete control over your Ajnya chakra, you will be able to ‘see’ energies which cannot be described. The last step is the realisation of the Parabrahma at the Brahma-randhra ie at the very top of your head, at the very ‘center’ of the Sahasrara chakra complex. 

Your 5-layered body is the vehicle with which your Soul will cross the geometry created by Prakruti and your Soul will finally realise itself. These signs are very clearly mentioned in several texts and they do happen. For some aspirants they may merge into one single event and they may not even realise that these have happened. These are not achievements, they are merely signposts that you are on the right route and progressing. However interesting these on-the-way things may seem to be. You as a spiritual aspirant should never relax your focus on the ultimate prize, Moksh

 

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Ganapati, his trunk, Pravrutti and Nivrutti

Change is constant. There can never be utter stillness in the manifested creation. There is always movement. The energy of the manifested creation is visualised as the Shri – yantra. The top-most triangle of this geometry is the Tri-gun, Satva, Raja and Tama. These three are in continuous movement which percolates throughout creation. This movement is of intelligence, consciousness and awareness, an actual flow of intention and energy, of desire. There are two possible directions to this movement. If this movement is directed towards the outer worlds, it is called Pravrutti, an evolution towards the material stuff, the soul desires to enjoy the charms of creation. If this movement is directed inwards towards the inner self it is called Nivrutti, involution or spiritual evolution. The soul desires to know oneself and attain Moksh. A soul cannot have both at the same time. You are either wrapped up in the material or directed towards the spiritual. Both together are not possible.😉

Ganapati, his trunk, Pravrutti and Nivrutti

Now let’s see what Ganapati’s trunk has got to do with Pravrutti and Nivrutti.

The figures that we see of our deities are an approximation of their real natures. It was not wild imagination that our Rishi-s/ Seers designed the moorti-s as such. There is a reason behind every feature of the figure, right from the mouse he is supposed to sit on, to the snakes placed around his navel and as a yadnopavit. Ganapati is depicted as a chubby human body with an elephant’s head. The face is a cute elephant’s face with the trunk coiling towards the left side. The tusk on the left side of the face is broken. This is the usual depiction, the left coiled trunk, left tusk broken. This is the relatively gentler aspect, the Saumya version. We keep this moorti in the house, the office or the car for worship. There are no special rituals needed for worshipping this Ganapati and he is quite the playful adorable cuteness he seems to be. He represents Pravrutti in this form. He will grant desires related to material desires quite happily. And if you want him to satisfy the spiritual calling, that too he will grant equally happily.

Then there is a rare depiction where he is shown with his trunk coiling towards the right, the right tusk is broken. This moorti is seen only in some temples where dedicated brahmins offer it worship as per strict rules, this depiction is never seen in personal worship or kept at homes. The Ganapati Moorthi depicted with his trunk coiling on the right side represents Nivrutti. This is the Ugra or fierce form of Ganapati and if you perform rituals connected to him, he will systematically take you deeper and deeper into your own self till you find your own reality within. His gifts will be the gifts of self-realisation, ultimately Moksh. But the route will be painful as it will involve removal of all the illusions of the material world. When a child realises that there are no fairies, there is pain, but he grows up. Similarly when you are made to realise that the mother, the father, husband/wife, son/daughter are all illusions there is intense pain initially. He is then the Vighnaharta in the real sense. Vighna is uncontrolled movement, sudden motion, impediment to progress, opposition to the understanding of Reality. Harta is the one who destroys. He will grant you the ultimate prosperity of self-realization. So if you worship Ganapati in his Nivrutti form and ask for material prosperity, he will grant it to you, but it will not be satisfying, as he will also make you realise its temporaries. As you have invoked Nivrutti, you will be made to move inwards sooner or later.

This right-trunk form of Ganapati is considered by some to be the tantric form of Ganapati, this is incorrect. A Vigraha/ Moorthi designed for tantric use is made in a very typical manner, in a very specific location using specific materials and with specific mantras. It can be right or left handed both depending on what use it is going to be put into.

Ganapati, his trunk, Pravrutti and Nivrutti

All the iconic symbols of Sanatan Dharm are available in the outward evolving Pravrutti or the inward moving Nivrutti form. eg The Swastik drawn spiralling in the anti-clock wise direction is again a representation of Nivrutti. Only tantriks and spiritual aspirants who know what they are doing will use this anti-clockwise Swastik in their rituals. Then the Dakshinavarti Shankh represents Nivrutti. It is called Shiv’s shankh and is never blown by householders. It is very rare and it is against the rules of nature, it is a mutation in the animal which makes it create its shell in the reverse direction. This type of conch is now being marketed as being Devi Laxmi’s symbol and will give endless prosperity. Someone I know was desperate and wanted to buy it for doing pujas on Diwali Amavasya. She wanted wealth and money. But this Shankh is the same energy as the right coiled Ganapati’s trunk. It’s primary drive will be to grant spiritual prosperity. Materialistic people might get money in the short-term, but ultimately they are invoking Nivrutti. Devi Laxmi will remove their illusions as to material wealth eventually and offer them the spiritual path if they dare to take it (to know the real nature of Devi Laxmi read the Laxmi Tantra).

The nature of Pravrutti is clockwise movement, it is spiral. And the nature of Nivrutti is also a spiral but anticlockwise. One simple experiment you can try if you want to. When you stir stuff, eg milk, do it in the clockwise direction and while doing so recite any mantra eg Gayatri mantra. Drink this. Do this once a day for 21 days and see for yourself. (And in the converse experiment, stir things anti-clockwise and if you drink them, you will get a tummy upset.)

Ganapati is also called Ek-dant (having one tusk) or Vakratunda (curved trunk). Now ek-dant also means ‘one focussed point’. And Vakratunda is literally how the opening of the Sushumna is like. The opening/mouth of the tube-like Sushumna is highly twisted and curved. Unless you are extremely focussed, single-point concentration you cannot navigate and enter it. Ganapati is the guardian of the Susumna. His Vahan is the Mushak, ie he is shown sitting on the mouse. Or he controls the Mushak. Mushak in Sanskrit (Devbhasha Samskrutam) is an air-hole or a very small opening, in this case it indicates the opening of the Sushumna.

So to conclude, Ganapati is not the playful cartoon that our TV has reduced him to. There is an entire tantra devoted to him. If you want to achieve Moksh, a basic puja of Ganapati at home is the first step. Keep a Moorthi of Ganapati with his trunk coiling to the left side, the Saumya form and at least light an oil lamp or an incense stick before him every day. He is the Vighnaharta, he will remove all obstacles from your path giving you your hearts desire.

Edit :

There was a request so this is the most perfect recitation of the Shri Ganapati Atharvasheersha. I do not know who the artist is, but he has perfectly recited it as per the rules of Sanskrit pronunciation. The ending sound of a word and the starting sound of the next word have to be from the similar class for the recitation to be seamless, and this artist has done it brilliantly.

The performer, catalyst and Creator

Hinduism/ Sanatan Dharma has very deep statements which cannot be understood but need to be experienced. My Guru would talk about things and we all used to listen. But it is only with practice that some of his statements are making more sense now.

There is only one origin called the ‘Nirvishesh Brahma’, the ‘intelligence where differentiation does not exist’ or Parabrahma, the ‘beyond intelligence’. This is the goal of each soul, your and my personal spiritual evolution leads here. This is the Ultimate Creator.

The first creation was duality, ie observer-performer energy was created. The Para creates infinite numbers of observer-performer pairs. The observer energy is called the Purush and the performer energy is called the Prakruti. Prakruti is said to be feminine as the energies are active, kinetic, capable of responding, changeable. Purush is said to be masculine as these energies are still and unchanging but are capable of eliciting a response. (The Purush and Prakruti are not a physical man and a woman, there is no sexism in the spiritual context.)

Only Advaita as discussed by Adi Shankaracharya is subtle and deep enough to pierce through all duality. It can take you upto the Real Creator, the Parabrahma. Advaita is referred to as ‘Non-duality’. It can be only expressed as a negation as what it really is cannot be described in the words of this creation, it needs to be experienced. This is the Reality which you and me actually desire to experience. Sankhya-shastra is a method analysing intelligence, energy, matter and the rest of it. This is a discriminative, rational, calculative and deliberate instrument directed to the understanding the Self. Sankhya is a prelude to the understanding of the Advaita.

The Prakruti is called Lalita, the one who plays the game. This game is of her devising, created out of her own energies, occurs within her and is not separate from her. The entire performance occurs within the energies of the performer. All creation theories or even modern science describe this Game that she plays, the secondary creation of the manifested Universes. These theories are limited to only Prakruti and the processes that go on with her body. These do not describe the Purush as they have not reached so deep within. And neither do they take you upto your reality, ie the Parabrahma.

Exalted and debilitated, Rahu, Ketu and Saturn

In my earlier posts, I have written about Prakruti and her active role in creating, maintaining, evolving and finally destroying the manifested. Whatever you see around you, your body, mind, environment, etc is all Prakruti. Now there is one twist here. Prakruti is described as being ‘Jada’ जड. She is without animation, insensate, still,  lifeless, paralysed, numb, dull, stunned, cold, apathetic as Jada means ‘matter without Intelligence’. She is capable of motion but incapable of initiating the motion herself. She does not have the intelligence or the consciousness. So why does the Prakruti start her performance?  What caused her to move, to start Playing?

The reason is the catalyst, the Purush.

The Purush has a very important role in all this Play. The Purush is called the ’Sakshi’ in Sanskrit. This word is usually translated to mean a witness or an observer. This is slightly incorrect as Devbhasha Samskrutam is a palimpsest, the deeper you go the more meanings you understand. Sakshi is a compound word ‘Akshasya sah’. Sakshi is the ‘intelligence which accompanies the Axis on which the individual soul exists’. Or the ‘self-awareness of the Pivot of the wheel of creation’.

Purush is Aware Intelligence.

The Purush is the catalyst. He, by his mere presence causes the Prakruti to start her performance. But the Purush does not interact with any other energy or get involved in any way. Purush is the ever-existing, steady, ever-pervading Intelligence. He doesn’t change and neither does he interfere. Manifested creation happens just because he exists. His existence is the reason why Prakruti goes about creating.

There are catalysts in every system, eg enzymes are catalysts in biology, they bring about all the cellular life processes but remain unchanged and unaffected. In chemistry, the neutrons are Sakshi, they do not participate but their presence makes things happen, eg electrons are captured by protons and chemical reactions take place. It is the same with the creation, Prakruti performs just because the Purush is there. Matter moves just because of the presence of the Purush.

In our usual life we all are actors, we perform. A very simplistic example, I interact with my son. I get cross and tell him to clean his room, he is irritated but cleans it. Both of us have changed. I was irritated, now I am satisfied. He was irritated, now he is tired. And a new reality has come to being, the room is clean. So two energies interacted and changed themselves and also changed the environment. This has happened within the realm of Prakruti. Emotions, physical realities which are capable of being changed are part of Prakruti and occur within her body.

Now if you look around you, there are also catalysts/ sakshi everywhere. These Sakshi do not engage with anyone else nor do they change, but events occur around them because of their mere presence. A very simplistic example again, I am at home just sitting and reading, my son comes home and because I am sitting there, carefully removes his shoes and puts them on the rack. I didn’t even look at him. But my mere presence, the catalyst, made him ‘perform’.

My Guru would say that I must bring in the ’Sakshi-bhaav’ into myself, ie bring into myself the reality of the Sakshi. He was telling me to be the unchanging center around which the whirl of creation unfolds. To change my perception from the ‘matter’ component to the ‘intelligence’ component. But how do I bring in this ‘consciousness’ within me? How can I stop being involved in ‘matter’. All my senses, my organs of action are oriented towards matter. I smell, taste, touch, move.. matter. I perceive only matter whirling around me.

The solution is to do Dhyan, when you sit still and focus only at your Ajnya chakra you are focussing on your personal consciousness. The Ajnya chakra is the seat of the individual consciousness. Once you identify with the fragment of the Ultimate consciousness within you rather than the matter swirling around you, your evolution gets easier.

Route from the Ajnya chakra to the Sahasrara and the Bindu within the Sahasrara gets easier. This is real evolution.

But when you are just starting your spiritual practice you cannot experience or imagine or visualise or even think of such subtle energies. So you start the ‘observe yourself’ thingie again by observing whatever is visible at your third eye during Dhyan. Dispassionately, you close your eyes and focus at your third eye. In the physical body, you, the individual consciousness, reside at the third eye Ajnya chakra. You start your practice of observing yourself from this chakra. Initially you see just darkness here. As your practice deepens you will observe yourself in all your increasing higher energy levels.

You have to traverse a distance of ’10 fingers’ from the third eye chakra to the top of the head. All this practice for this seemingly tiny thing!

The Sakshi is the pivot, the axis around which change occurs. The Sakshi is essential for evolution. Matter by itself cannot move. Intelligence makes it move, evolve. Consciousness is steady, it does not change, it remains constant, it is. This principle is applicable everywhere, from biology, chemistry to spiritual evolution. When you become your own catalyst, you further your own spiritual evolution.

 

More on Eclipses and their astrological results

Using the Akshar, Mantra and Sanskrit

Sanskrit (Devbhasha Samskrutam) has the following sounds. These are called Akshar, which means that they are fixed, unchangeable, cannot be ‘interpreted’, their meanings and powers are perfectly fixed. This is the list of the 54 sounds. (I don’t know how to write them with the diacritical marks).

  • 14 vowels – a, aa, e, ee, u, uu, rhu, rhuu, lhru, lhruu, ae, ai, o, au
  • 2 support vowels – am, aha
    • अं अः
  • Gutturals – ka, kha, ga, gha, nga
    • क ख ग घ ङ
  • Palatals – cha, chha, ja, jha, nja
    • च छ ज झ ञ
  • Cerebrals – ta, tha, da, dha, na
    • ट ठ ड ढ ण
  • Dentals – ta, tha, da, dha, na
    • त थ द ध न
  • Labials – pa, pha, ba, bha, ma
    • प फ ब भ म
  • Semi-vowels – ya, ra, la, va,
    • य र ल व
  • Sibilants – Sha, Ssha, sa
    • श ष स
  • Consonants – Ha, LLa, Ksha
    •   ळ क्ष
  • Conjunct Consonants – Tra, Jnya
    • त्र ज्ञ
  • The sound of the Bindu or dot. (it is somewhat like ‘ang’, very very nasal)

The energy beauty of sounds

There was a question on what these sounds mean on the spiritual or energy front. You should read the Akshamala upanishad (its text is available on sanskritdocuments.org Or you can also refer to the Sharada Tilak for more information). Each sound /Akshar has a meaning and this small but important Akshamala Upanishad gives the meanings. Every Sanskrit Akshar links with your chakras and you will eventually experience their true power in your spiritual progress. When we speak, we cannot utter the consonants on their own. They have to be linked with a vowel to be uttered out loud. When you utter these sounds, Akshar, you are manipulating your body and mind energies using their targeted energies. If you consciously do this you can bless, curse or progress faster spiritually.

These Akshar are in Devbhasha Samskrutam, the perfectly arranged definition of illumination. Only Sanskrit Mantras are the effective, these have been ‘seen’ by Rishi/Seers and every mantra has the name of the Rishi who first saw it. There are some ‘modern gurus’ who propagate some ‘modern mantras’ of their own devising. Do not use these as you might hurt yourself on the energy levels.

Mantras work on several levels. When you utter them you are manipulating your physical body, it is a vocal exercise first. The mouth and the vocal apparatus directly affects your own ajnya chakra so first of all your own the Ida, Pingala and Sushumna are subtly affected. The vibrations move upwards through your nasal apparatus and are almost fully absorbed your your third eye, thus your entire body. Try this with the sound of ‘Ang’. Close your eyes, wear a eye-mask, and recite just ‘ang’ aloud, very nasal sound, drag the ‘nnnggg’, your lips remain open, and tongue presses against the palate. See the colors and patterns which you will see at your third eye. This ‘ang’ is used as the ending sound of every beej mantra, so that the energy of this seed sound is directly linked into your Ajnya chakra.

Then you are also fixing your mind on the meanings of the Mantras, so it a mental exercise. This lets your mind be absorbed in the beauty of the experience. This is the basis of “Laya yog’. When you hear the sound or rather experience its vibrations, it affects your internal energy structure. Words have inherent beauty, wonder if you have noticed? All this happens to you first, then to the listener. Our parents taught us to speak only auspicious things, speak the truth etc from our childhood onwards just for this reason. We modify our own energies by the simple act of speaking. Try this, choose one mantra, eg the Gayatri mantra or Soham, and whenever you are mentally or physically uncomfortable, just recite this mantra a few times in your mind, try to focus on your third eye as you do so. In less than a minute you will feel differently on both the mental and physical levels.

Mantras make things move, they are fire, embodiment of the Raja Gun, of Devi Sarasvati. She is depicted as playing the Veena, a musical instrument, this is nothing but the Sushumna. The Sushumna with all its chakras and its powers! Devi Sarasvati plays the Sushumna as one would play a musical instrument.

kalam-playing-veena.jpg
Dr A.P.J.Abdul Kalam, the highly respected Ex-President of India playing a Veena

First all the vowels, as per the effects they create, are considered to be basically linked to the Ida. However they are also connected to the Pingala and Sushumna as follows.

  • All the short vowels ऋ ऌ are also linked to the Pingala. These are considered to be masculine, of potential energy and steady. When we utter a short vowel it gets linked to the Pingala. All consonants when linked to a short vowel are link more strongly to the Pingala.
  • The long vowels link only to Ida. These are considered feminine or active or varying in nature. And when we utter a consonant with a long vowel it gets linked to the Ida.
  • The vowels are also linked to the Sushumna. These are considered to be genderless, they can neither be considered to be active nor inactive. A consonant with the vowels gets linked to the sushumna.
  • There are the two support vowels.
    • Am अं is linked to the Purush, the constant unchanging masculine witness. A consonant uttered with the ‘am’ or ‘ang’ ending gets linked to Purush. ‘ang’ makes it very intense.
    • Aha अः also called the ‘Visarga’ is linked to Prakruti or the feminine active principle of creation. A consonant uttered with the ‘aha’ vowel ending is linked to Prakruti.

All the consonants are basically linked more to the Pingala.

  • All the 25, gutturals, palatals, cerebrals, dentals and labials are considered to link to the Pingala.
  • However the semi-vowels – ya, ra, la, va, the sibilants – श ष स and the last three consonants –   क्ष  are linked to the Sushumna. and क्ष are very important Akshar are they are linked to the two petals of the Ajnya chakra lotus. And the is linked in the Sahasrar.

Even if you recite this Askarmalika ie the sounds of the Sanskrit alphabet once a day they are the easiest mantra possible!

In fact during the Yadnopavit, it is the Sanskar, the energy ritual where boys are taught the Gayatri mantra, they are first taught the Shiv sutrani, these are simply the Akshar in a very specific sequence,

  • अ इ उ ण्
  • ऋ ऌ क्
  • ए ओ ङ्
  • ऐ औ च्
  • ह य व र ट्
  • ल ण्
  • ञ म ङ ण न म्
  • झ भ ञ्
  • घ ढ ध ष्
  • ज ब ग ड द श्
  • ख फ छ ठ थ च ट त व्
  • क प य्
  • श ष स र्
  • ह ल्

This sequence is highly mathematical stuff, if you search there are numerous research papers on the beauty of this maths. This is the basis of the grammar of Sanskrit. Reciting this sequence generates very beautiful energies. Say them aloud and see for yourself.

Now a spiritual aspirant is interested in those sounds, Akshar which are connected to the Sushumna, so we have our list, the vowels औ अं अः and the consonants य र ल व श ष स ह. If you observe our Mantras they are more composed of these Akshar. These mantras drive the energy directly into the Sushumna.

Today is Diwali, the festival of Light. This is the Amavasya, the no-moon night of the Ashwin month. The Ashwin month is bursting with the energies of illumination, ie the energy of the Devi are extraordinary throughout this month. It starts with the bright fortnight, with the Navratri. Continues with the most intense full-moon, Kojagiri Purnima, the Moon is closest to the earth during this full-moon. Then the power again starts building  from the 11th day of the dark fortnight till the Amavasya, today. On this night, twilight onwards, pujas for the Devi in her Satvic –  Laxmi, Rajasic – Sarasvati and Tamasic – Shakti forms will give immense benefits. So do not waste this night, use its energies for Devi pujas. Practice and experience for yourself. The really serious practitioners will have prepared in advance for this night, there is so much you can do tonight if you know how.

Wishing everyone a very happy, prosperous and auspicious Diwali.

May the Devi bless every one of us!

 

Siddhakunjika Mantra